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Full text of "Movie Makers (Jan-Dec 1951)"

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ACTION   OUTDOORS    •   MAKING  THE  MAXIM 


NER   •   MC        ON   Ll( 


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NEW  ACL  PIN  YOU'LL  BE  PROUD  TO  WEAR 
AND  NEW  DECALS-NOW  AVAILABLE! 


THE  NEW  ACL  PIN 

Lettered  in  gleaming  metal*  on  a  center  of  rich  blue 
and  an  outer  circle  of  warm  red,  the  ACL  pin  is  one 
you'll  be  proud  to  wear.  It's  V2"  'n  diameter  and 
comes  in  two  types:  screw-back  lapel  type  or  pin- 
back  safety  clasp.  $1.00  each. 


THE   NEW  ACL  DECALS 

Similar  in  design  and  coloring  to  the  pin,  the  ACL 
decals  are  as  practical  as  they  are  beautiful.  Identify 
your  camera  and  projector  cases,  gadget  bag,  film 
cans  with  this  proud  insignia.  21/4"  by  3".  $.25  each, 
or  5  for  $1.00. 


AMATEUR  CINEMA  LEAGUE,  INC. 

420  Lexington  Avenue,  New  York  17,  N.  Y. 

January  1951 
TO  ALL  ACL  MEMBERS: 

Your  many  letters  asking  for  a  membership  pin  and 
decals  have  poured  into  the  League  offices  ever  since  the 
idea  was  born  in  the  fertile  mind  of  an  ACL  member. 

BOTH  PINS  AND  DECALS  ARE  NOW  AVAILABLE! 

No  effort  was  spared  in  designing  and  producing  the 
finest  membership  pin  obtainable.  It's  a  handsome  in- 
signia (%"  in  diameter)  that  you'll  be  proud  to  wear. 
A  center  of  rich  blue  enamel  sets  off  the  letters  "ACL," 
sharply  cast  in  burnished  metal.*  An  outer  circle  of 
warm  red  enamel  carries  the  legend  "MEMBER — 
AMATEUR  CINEMA  LEAGUE"  in  the  same  sparkling 
metal.*  But  you'll  have  to  see  this  pin  to  appreciate  its 
beauty  .  .  .  We're  enthusiastic  about  its  elegance! 

Wearing  the  ACL  pin  at  all  times  will  give  fellow 
members  and  others  the  opportunity  to  recognize  you 
immediately  as  a  member  of  the  world  wide  association 
of  amateur  movie  makers — the  ACL.  You,  in  turn,  will 
spot  other  members  at  home,  on  location,  on  vacations, 
at  club  meetings,  anywhere! 

The  pin  is  available  in  two  types:  the  screw-back  lapel 
type  for  your  suit  and  overcoat,  and  the  pin-back  safety 
clasp  type  suitable  for  wear  on  your  shirt,  sweater,  dress, 
blouse,  jacket,  windbreaker,  etc.  You  may  order  one  or 
both  types- — $1.00  each  for  either  pin. 

The  decal,  carrying  out  the  same  rich  color  scheme  of 
the  pin,  has  many  practical  uses.  Its  21/4"  by  3"  size 
gives  you  ample  room  to  letter  in  your  name  and  address 
for  identification  of  your  equipment.  You  can  apply  it 
to  .your  camera  and  projector  cases,  gadget  bag,  film 
"iaris,  on  your  car  or  home  windows,  or  any  other  smooth 
surface  you  wish.  Two  ACL  decals  will  be  mailed  to  you 
with  our  compliments.  Additional  decals  may  be  ordered 
at  $.25  each  or  5  for  $1.00. 

With  the  ACL  pin  and  decals  you  can  now  "exhibit" 
your  interest  in  movie  making,  making  yourself  known 
at  a  moment's  notice  to  other  League  members,  and  hav- 
ing others  recognize  you  as  a  filmer  with  standing.  I 
know  you'll  want  to  place  your  order  for  pins  and  addi- 
tional decals — right  now! 

Cordially, 


\ 


JAMES  W.  MOORE 
Managing  Director 

*  P.S.  ACL  members  of  one  through  four  years  standing  are  entitled  to 
wear  the  silver-plated  pin.  ACL  members  of  five  years  standing  (or  more) 
are  privileged  to  wear  the  gold-plated  pin.   .  .   .  We'll  send  the  right  one! 


MOVIE    MAKERS 


-^tf 


,1 


AuAIN!   Revere  brings  you  the  best  in  home  movies  •  •  .  with 

Luxury  Eights 

aiSutilqit'P/uceA 


Here  are  new  Revere  8mm  models  that  give  you 
so  much  more  for  your  movie  equipment 
dollar.  Embodying  the  same  fine  precision 

workmanship  that  has  always  distinguished 
Revere  products,  they  are  years  ahead  in 
design  and  features,  tops  in  performance — 
truly  luxury  equipment  at  budget  prices. 
See  them  at  your  dealer  today.  Compare  them 
with  others  and  you'll  readily  appreciate 
why  Revere,  more  than  ever,  is  the  choice  of 

critical  movie  makers  everywhere! 
Revere  Camera  Company,  Chicago 


O 


CINE    EQUIPMENT 


Sensational !  New  !  f&BiJerG 

cine-graphic  EN  LARGE  R  -V I  EWER 


Make  beautiful 

enlargements  from 

your  8mm  or  16mm 

movie  film! 

Now,  for  the  first  time, 
you  can  make  your  own 
large,  exciting  prints 
from  your  color  or 
black-and-white 
movie  film  —  and  for 
just  pennies  each!  It's 
simple  and  great  fun! 
Just  select  the  frame 
to  be  enlarged,  project 
it  on  amazing  .Gevaert 
patented  Diaversal 
paper,  and  produce 
rich,  deep-toned  prints 
in  about  five  minutes! 
Utilizes  any  standard 
8mm  or  16mm  camera 
lens.  Ideal  for  viewing 
and  editing,  too! 


Model  E  208— for  8mm  film,    «4750 

Model  E  216— for  16mm  film,  $4950 

Each  complete  with  Diaversal  paper  and  every- 
thing you  need  for  making  enlargements. 


8mm  "B-61"  MAGAZINE 
Amazingly  compact  and  easy 
to  handle.  New  type  magazine 
loadingis  quickest  and  simplest 
ever  devised.  Other  standout 
features  include  micromatic 
view-finder  with  click  stops, 
and  five  speeds.  Handsomely 
designed  with  gleaming  chrome 
and  leather  trim. 
With  F2.5  coated  lens,  includ- 
ing tax only  $H250 

"B-61"  WITH 
SWING-AWAY  CASE 
Handsome  plastic  carrying 
case  with  handy  strap.  Camera 
and  case,  complete,    $U^)50 


8mm  "B-63" 
MAGAZINE  TURRET 

Last  word  in  8mm  cam- 
eras! Everything  you 
want  for  advanced 
movie  making!  Quick, 
easy  magazine  loading, 
3-lens  turret  versatility, 
micromatic  view-finder 
with  click  stops,  five 
speeds,  and  a  host  of 
other  features.  Brown 
crackle  finish  enhanced 
with  chrome  and  leather. 
With  F2.8  coated  lens, 
including  tax, 
..only$14250 


8mm  "85"  DELUXE 
PROJECTOR 

All  new,  with  greater- 
than-ever  conven- 
ience, beauty,  and 
value!  Slip-over  case 
of  burnished  russet- 
brown  plastic  whisks 
off  and  on  in  seconds. 
Two-reel  storage 
compartment  in  pro- 
jector base.  500-watt 
lamp,  300-ft.  reel,  1- 
inch  F1.6  coated  lens, 
and  case . . .  $ U4^ 


JANUARY   1951 


We  have  often 
been  asked . . . 


. . .  why  the  Auricon-Pro  is  the  only  16  mm. 
sound-on-film  Camera  made,  regardless  of 
price,  which  operates  so  silently  it  can  be 
used  within  10  inches  of  a  microphone. 

We  have  been  asked  how  it  is  possible  to 
sell  a  16  mm.  "talking  picture"  Camera 
which  takes  a  rock-steady,  in-focus  picture 
and  records  a  "high-fidelity"  sound  track 
on  the  same  film  at  the  same  time,  complete 
with  amplifier  for  $1310.00  on  a  30  day 
money-back  guarantee  and  a  1  year 
service  guarantee. 

The  answer  is  found  in  18  years  of 
specialized  production  experience  with 
16  mm  sound-on-film  equipment,  plus 
world  wide  sales.  Owners  and  Dealers  call 
Auricon  "the  best  camera  value  on  the 
market  today."  Also  available  to  take 
pictures  without  sound,  if  desired,  for  use 
with  the  Auricon  double-system  Recorder. 


SEND  FOR 
YOUR  FREE  COPY 

OF  THIS 
AURICON  CATALOG 


BERNDT-BACH,Inc. 

7383  Beverly  Blvd.,  Los  Angeles  36,  Calif. 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


THE  MAGAZINE  FOR 
8mm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


January 
1951 

Closeups  What  filmers  ore  doing      5 

The  reader  writes  6 

New  ACL  members  8 

Getting    "The    Gannets"  Warren  A.  Levett,  ACL      9 

Behind-the-lens  filters  Herman  E.  Dow,  ACL    1 1 

Look   at   your   lighting!    Photographs  by  Leo  J.  Heffernan,  FACL    12 

William  L.  Lucas    14 

John  E.  C/osson    15 

Frances  Oakes  Baldwin    16 

Aids  for  your  filming    20 

William  A.  Thomas,  ACL  21 

Mar/one  Riddell  22 

Reports  on  products   24 

26 

New  8mm.  and   16mm.  films   27 

People,  plans  and  programs   28 

Editorial  34 


Winter   projects 

A  titling  tell-all 

Skiing  calls  your  camera 

The  clinic 

Starring  Miss  Kitty 

Welcome   to  Tucson 

News  of  the  industry 

The  facts  about  lens  bubbles 

Late   releases 

Clubs 

Experience  isn't  everything 


Cover  photograph  by  Ken  Davis 


DON  CHARBONNEAU 
Consultant  Editor 


JAMES  W.  MOORE 
Editor 


JAMES  YOUNG 
Advertising    Manager 


ANNE  YOUNG 
Production   Editor 


Vol.  26,  No.  1.  Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
League,  Inc.  Subscription  rates:  $3.00  a  year,  postpaid,  in  the  United  States  and 
Possessions  and  in  Argentina,  Bolivia,  Brazil,  Chile,  Colombia,  Costa  Rica, 
Cuba  Dominican  Republic,  Ecuador,  El  Salvador,  Guatemala,  Haiti,  Honduras, 
Mexico,  Nicaragua,  Panama,  Paraguay,  Peru,  Spain  and  Colonies,  Uruguay  and 
Venezuela;  $3.50  a  year,  postpaid,  in  Canada,  Labrador  and  Newfoundland; 
other  countries  $4.00  a  year,  postpaid;  to  members  of  Amateur  Cinema  League, 
Inc  ,  $2.00  a  year,  postpaid;  single  copies  25fi  (in  U.  S.  A.).  On  sale  at  photo- 
graphic dealers  everywhere.  Entered  as  second  class  matter,  August  3,  ,?927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3,  1879.  Ccpyright, 
1951  by  Amateur  Cinema  League,  Inc.  Editorial  and  Publication  Office:  420 
Lexington  Avenue,  New  York  17,  N.  Y.,  U.S.A.  Telephone  LExington  2-0270. 
West  Coast  Representative:  Edmund  J.  Kerr,  6605  Hollywood  Boulevard,  Los 
Angeles  28,  Calif.  Telephone  HEmpstead  3171.  Advertising  rates  on  application. 
Forms  close  on  10th  of  preceding  month. 

CHANGE  OF  ADDRESS:  a  change  of  address  must  reach  us  at  least  by  the 
twelfth  of  the  month  preceding  the  publication  of  the  number  of  MOVIE 
MAKERS  with  which  it  is  to  take  effect. 


MOVIE    MAKERS 


CloseupS— What  filmers    are  doing 


AUGUST  BARTHOLET,  ACL,  of  Forth  Worth,  sur- 
veys the  region  for  a  good  movie  shot  while 
on   vacation   at    Paradise   Ranch,    in   Colorado. 


YV  E  were  most  pleasantly  surprised  by 
the  holiday  greetings  sent  us  from 
Italy's  leading  amateur  cinema  organi- 
zation, I.C.A.L.  Milano.  Achille  de 
Francesco,  ACL,  in  the  name  of  the 
club,  sent  us  via  airmail  a  panettone 
by  way  of  wishing  us  a  Merry  Christ- 
mas. For  the  benefit  of  the  uninitiated 
(which  up  until  now  included  this 
writer),  a  panettone  is  an  Italian  holi- 
day cake-bread,  made  in  an  enormous 
loaf  measuring,  roughly,  fifteen  inches 
in  height  and  ten  inches  in  diameter. 
It  was  delicious  and  added  a  gay  and 
different  note  to  our  Christmas  cele- 
brations. 

Across  the  Threshold:  Back  from 
Mexico.  Ten  Best  winner  Esther  Cooke. 
ACL  (of  Albany,  N.  Y.,  when  she  stays 
home ) .  called  on  us  to  say  she  had 
more  exciting  material  to  fill  out  her 
Nextdoor  Neighbor,  the  prize  film  .  .  . 
B.  C.  Scherzinger,  ACL,  on  one  of  his 
frequent  business  jaunts  to  New  York 
City,  stopped  by  to  tell  us  of  the  civil- 
ian defense  films  planned  for  produc- 
tion by  the  Cincinnati  Movie  Club,  of 
which  he  is  vicepresident  .  .  .  Grace 
Lindner.  ACL,  one  of  last  year's  Hon- 


orable Mention  winners,  came  in  from 
Kenmore.  N.  Y..  with  an  entertaining 
reel  of  random  8mm.  footage  tied  to- 
gether cleverly  with  popular  song 
themes,  old  and  new. 

George  Handwerck,  ACL.  from 
Miami,  was  interested  in  tips  on  film- 
ing our  sprawling  metropolis  .  .  .  Peter 
S.  Bezek,  a  member  of  the  Chicago 
Cinema  Club,  ACL,  spent  a  few  min- 
utes with  us  detailing  the  club's  plans 
for  the  coming  year  .  .  .  C.  H.  0.  Wea- 
vind,  an  officer  of  the  Amateur  Cine 
Club.  ACL,  of  Johannesburg,  in  South 
Africa,  on  a  flying  business  trip  to  this 
country,  took  time  out  between  planes 
to  meet  us  and  extend  personal  greet- 
ings from  the  Jo'burg  group. 

Also  George  Bell  and  Austin  Riggs, 
ACL,  brought  in  their  films  of  mountain 
climbing  in  Peru,  the  mountain  they 
selected  for  their  climb  being  Yerupaja, 
second  highest  in  that  country  at  21.- 
760  feet.  We  were  properly  impressed 
and  made  a  mental  note  to  give  up  our 
idea  of  trying  this  sport  one  day. 

Southern  exposing  at  Hollywood.  Fla., 
are  George  Merz,  ACL,  and  Mrs.  Merz, 
of  Clifton.  N.  J.,  while  down  the  coast 
a  few  miles  at  Miami  are  George  Mes- 
aros,  FACL,  and  Mrs.  Mesaros.  of  Long 
Beach.  N.  Y.  Also  wintering  in  Florida 
are  B.  T.  Behrens,  ACL,  and  his  missus, 
from  Asheville,  N.  C.  .  .  .  Ralph  E. 
Gray,  FACL,  has  parked  his  trailer 
for  the  winter  at  Phoenix.  Ariz.,  with 
Fred  C.  Ells.  FACL.  another  trailerite. 
choosing  Santa  Monica,  Calif.,  for  the 
cold  months. 

Latest  release  by  the  Motion  Picture 
Bureau  of  the  New  York  Central  Sys- 
tem is  the  film.  It's  A  Deal,  running 
twenty  minutes  of  monochrome  sound 
on  film.  Frederick  G.  Beach,  FACL, 
formerly  technical  editor  of  Movie 
Makers,  is  supervisor  of  the  Bureau. 
It's    A    Deal    dramatizes    the    damage 


which  can  result  from  improper  han- 
dling of  high  class  freight;  a  special 
car  equipped  as  a  traveling  theatre  will 
present  the  picture  to  freight-handling 
personnel  of  the  N.Y.C.  system. 

Movie  Makers  announces  with  sincere 
regret  the  death  on  December  9.  1950, 
of  Joseph  M.  Bing.  of  New  York  City. 
A  Charter  Member  of  the  Amateur 
Cinema  League,  Mr.  Bing  was  an  out- 
standing figure  in  the  field  of  still  pho- 
tography, where  his  honors  included 
Honorary  Fellowship  in  both  the  Royal 
Photographic  Society  and  the  Photo- 
graphic Society  of  America. 


MRS.  JOHN  BRUCE,  ACL,  of  New  York  City, 
models  the  traditional  pose  of  African  hunters. 

Mrs.  John  Bruce,  ACL.  of  New  York 
City,  is  off  again  to  East  Africa,  tak- 
ing with  her  the  edited  film  shot  there 
last  year.  She  is  interested  this  time 
in  obtaining  material  needed  to  fill  in 
the  gaps  created  by  a  jammed  camera 
last  time.  We  shall  look  forward  to  see- 
ing more  of  this  colorful  and  fascinat- 
ing scene. 

I T  is  now  our  pleasure  and  privilege 
to  extend,  on  behalf  of  the  entire  ACL 
staff,  our  warm  appreciation  for  the 
many  holiday  greetings  and  remem- 
brances received  during  the  Christmas 
season.  We  wish  all  of  you  a  reward- 
ing and  peaceful  1951. 


AN  ANNUAL  EVENT  for  A.  Theo  Roth,  ACL,  of  San  Francisco,  is  his  movie 
party   for   the    neighborhood    kiddies    during   the    Christmas    holidays. 


JEAN  F.  SCHWEIZER,  a  member  of  the  Vailsburg  Cine  Club,  near  Irving- 
ton,  N.  J.,  demonstrates  Father's-Dream-Come-True  on  Christmas  morn. 


JANUARY    1951 


U.  S.  Pat.  No.  2260368 


GOERZ  AMERICAN 

APOGOR 

F:2.3 

the  movie  lens  with  microscopic 
definition  successful  cameramen 
have  been  waiting  for— 


A  new  six  element  high  quality  lens  for  the  16  and 
35  mm  film  camera.  Corrected  for  all  aberration  at 
full  opening,  giving  highest  definition  in  black-&- 
white  and  color.  Made  by  skilled  technicians  with 
many    years   of  optical   training. 


Fitted  to  precision  focusing  mount  which  moves 
the  lens  smoothly  without  rotating  elements  or 
shifting    image. 


This   lens    comes   in   C    mount    for    1 6    nun    cameras. 
Fitting  to  other  cameras  upon  special  order. 


Sizes     available     now :     35 
and   75  mm  coated. 


■id     50     mm     tin  coated 


Write    for    prices,    giving    your    dealer's    name. 


2=££  GOERZ  AMERICAN 

OPTICAL    COMPANY 
OFFICE  AND  FACTORY 

317   EAST  34  ST.,  NEW   YORK    16,  N.   Y. 

MM-1 


cmswoLv 

FILM     SPLICERS 

for  every  size  and  type  of  film, 
sound  and  silent,  perforated  and 
non-perforated,  write  for  details 

GRISWOLD   MACHINE  WORKS 

Dep't  A,  Port  Jefferson,  N.  Y. 


STOP  APOLOGIZING  FOR 
YOUR  MOVIE  TITLES 

Write  today  for  a  FKEE  A-to-Z  Sample  Title  Teat 
Kit.  Make  titles  that  are  different  .  .  .  better  and 
tailored  to  your  taste.  Try  our  method  .  .  .  FREE. 
COMPLETE   COLOR   OR   B.&.W.   OUTFIT   $6.50 

A-to-Z     MOVIE     ACCESSORIES 

175  Filth  Avenue       Dept.  M       New  York  10.  N.  Y. 


Safeguard    your 

Film.   Ship   in 

FIBERBILT 

CASES. 

400'  to  2000'  16mm. 

FIBERBILT 
CASE  CO. 

40    WEST    17th    ST. 
NEW     YORK     CITY 


This  department  has  been  added  to  Movie  Makers 
because  you,  the  reader,  want  it.  We  welcome  it 
to  our  columns.  This  is  your  place  to  sound  off. 
Send  us  your  comments,  complaints  or  compli- 
ments. Address:  The  Reader  Writes,  Movie 
Makers,  420  Lexington  Ave.,  New  York  17,  N.  Y. 


OVERWHELMED 

Dear  Mr.  Moore:  Your  letter  of  No- 
vember 29  was  waiting  for  me  on  my 
return  to  Hartford  from  the  West  Coast 
yesterday.  I  can  assure  you  that  I  am 
overwhelmed  by  the  honor  you  have  be- 
stowed on  my  film.  The  Gannets. 

Your  earlier  mysterious  letters  had 
really  kept  me  awake  nights,  since  they 
indicated  which  way  the  wind  might  be 
blowing.  But  I  had  not  dared  to  hope 
that  this  particular  film  would  win  the 
coveted  Hiram  Percy  Maxim  Memorial 
Award. 

I  wish  to  extend  to  you  and  the  other 
members  of  your  staff  my  most  sincere 
thanks  and  appreciation  for  the  consid- 
eration you  have  given  my  work. 

Warren  A.  Levett,  ACL 
West  Hartford.  Conn. 

DELIGHTED 

Dear  ACL:  It  goes  without  saying  that 
Mrs.  Turner  and  I  were  delighted  that 
The  Barrier  won  a  place  among  the  Ten 
Best  Amateur  Films  of  1950.  The  award 
leader  arrived  today.  It  looks  fine  and 
seems  a  most  appropriate  form  of  recog- 
nition. Glen  H.  Turner,  ACL 
Springville,  Utah 

GREATEST   PLEASURE 

Gentlemen:  Your  communication  of 
this  week  advising  me  that  my  film. 
Circus  Time,  has  been  honored  by  be- 
ing selected  as  a  Ten  Best  winner  has 
afforded  me  the  greatest  pleasure  and 
joy.  To  all  of  you  on  the  ACL  staff  my 
many  thanks  for  awarding  me  this  great 
honor.  George  Merz,  ACL 

Clifton.  N.  J. 

VERY   HAPPY 

Dear  Friends:  I  have  just  received  your 
letter  informing  me  of  the  Ten  Best 
awards  for  1950,  and  I  am  very  happy 
that  my  film.  Green  River  Expedition, 
was  counted  "in."  Please  send  me  some 
extra  December  magazines  as  soon  as 
they  are  off  the  press. 

Al  Morton.  FACL 
Salt  Lake  City,  Utah 

AMAZED 

Dear  Mr.  Moore:  I  am  amazed  and 
delighted  to  know  that  Albany's  Tulip 
Festival  was  chosen  as  one  of  the  Ten 
Best  Amateur  Films  of  1950.  I  am  still 


breathless  to  think  that  a  film  of  mine 
has  won  such  distinction. 

Aware  that  success  is  to  be  borne 
humbly,  I  shall,  nevertheless,  try  to  live 
up  to  the  high  standards  set  by  the 
League.  I  hope  that  I  shall  be  able  to 
share  with  others  the  knowledge  I  have 
gained  from  past  winners  of  your 
coveted  awards.  Helen  C.  Welsh,  ACL 
Albany,  N.  Y. 

THRILLED 

Dear  ACL:  I  was  thrilled  beyond  words 
when  I  received  the  notification  that  my 
Hands  Around  the  Clock  was  selected 
as  one  of  the  Ten  Best  Amateur  Films 
of  1950.  The  new  certificate  is  very  im- 
pressive and  the  color  leader  is  excel- 
lent. Congratulations  on  the  fine  thought 
behind   both   of  them. 

Bill  Messner.  ACL 
Teaneck,  N.  J. 

VERY   PLEASED 

Gentlemen:  Delores  and  I  were  cer- 
tainly surprised  and  very  pleased  to 
receive  a  Ten  Best  certificate  for  our 
film.  Isle  of  the  Dead,  in  your  1950  Ten 
Best  contest. 

We  are  also  very  happy  with  the  Ten 
Best  color  leader.  In  fact,  we  spliced  it 
into  our  film  the  day  we  received  it  and 
have  been  especially  proud  to  show  the 
film  ever  since. 

Timothy  M.  Lawler.  Jr..  ACL 
Kenosha.  Wise. 

ATTAINMENT 

Dear  Sirs:  It  was  a  thrill  to  receive 
your  letter  about  my  attainment  in  hav- 
ing been  selected  as  one  of  the  Ten  Best 
with  my  picture.  Seminole  Indians. 
Many  thanks  to  the  Amateur  Cinema 
League  for  their  helpfulness  and  en- 
couragement to  the  sincere  movie  maker. 
Elmer  W.  Albinson,  ACL 
Minneapolis,  Minn. 

GREATLY   PLEASED 

Gentlemen:  Mrs.  Heise  and  I  were 
greatly  pleased  and  even  more  surprised 
to  receive  Honorable  Mention  for  our 
film.  Caravan  to  Guatemala.  We  proudly 
displayed  our  new  leader  when  we 
showed  our  picture  recently  before  the 
Amateur  Movie  Society  of  Milwaukee. 
ACL.  We  also  are  very  grateful  for  the 
beautiful  certificate. 

Dr.  Herman  A.  Heise,  ACL 
Milwaukee,  Wise. 

APPRECIATION 

Dear  Sirs:  We  wish  to  express  our 
pleasure  and  appreciation  for  the  honor 
which  the  Amateur  Cinema  League  has 


MOVIE   MAKERS 


bestowed  upon  us  by  placing  Paddle  Up 
Front!  in  the  Honorable  Mention  class 
in  connection  with  the  Ten  Best  Ama- 
teur Films  of  1950.  The  entire  student 
body   is    pleased    with    our   success   in 
being  cited  for  this  achievement. 
Ellis  A.  Ring 
Audio  Visual  Education 
Springfield  College 
Springfield,  Mass. 

WONDERFUL 

Dear  Movie  Makers:  It  was  wonderful 
seeing  a  picture  of  my  home  in  the  ACL 
magazine,  and  your  write-up  of  Bless 
This  House  is  a  prize  I  shall  always 
keep.  Grace  Lindner,  ACL 

Kenmore,  N.  Y. 

GRATIFYING 

Dear  ACL:  It  was  indeed  gratifying  to 
learn  that  my  film  was  selected  by 
Movie  Makers  for  Honorable  Mention 
in  the  Ten  Best  contest  of  1950.  At  this 
time,  I  would  like  to  give  credit  to  cast 
members  Al  Londema  and  Bill  Langton, 
ACL,  who  worked  so  unselfishly  with 
me  during  the  filming  of  /  Walked  a 
Crooked  Trail.  0.  L.  Tapp,  ACL 

Salt  Lake  City,  Utah 

LEADERS   FOR   PAST   FILMS? 

Dear  Mr.  Moore:  I  was,  of  course,  de- 
lighted to  receive  your  letter  about  my 
circus  picture  winning  a  Ten  Best  place 
in  1950.  Also,  the  new  award  leader  is 
mighty  fine. 

In  this  connection,  would  it  be  pos- 
sible for  you  to  make  similar  leaders 
for  me.  bearing  the  dates  1944.  1947  and 
1948,  for  my  Ten  Best  and  Honorable 
Mention  winners  of  those  years?  Natu- 
rally, I  would  expect  to  pay  you  for 
them.  Oscar  H.  Horovitz.  ACL 

Newton.  Mass. 

Yes,  we  can  do  so.  Through  the  fore- 
sight of  the  League's  Technical  Director, 
we  are  in  a  position  to  supply  exactly 
similar  Maxim  Award,  Ten  Best  or  Hon- 
orable Mention  award  leaders,  8mm.  or 
16mm.,  for  any  past  year  that  winners 
desire. 

These  leaders,  however,  must  be  made 
on  special  order,  and  the  success  of  the 
undertaking  will  depend  on  the  volume 
of  orders  we  receive  from  past  winners. 
Costs  will  be  $1.00  for  the  8mm.  size, 
$1.50  for  the  16mm.,  and  in  Kodachrome, 
of  course.  If,  as  a  previous  award  winner, 
you  are  interested,  let  us  hear  from  you. 

NO   FILMING   FROM   TRAINS 

Dear  ACL:  Recently,  while  coming 
across  New  York  State  on  a  New  York 
Central  train.  I  was  questioned  by  an 
FBI  agent  for  shooting  movies  out  of 
the  train  window  along  the  route  of  the 
Barge  Canal. 

Cautioning  me  not  to  take  any  more 
such  pictures,  the  agent  stated  that 
photography  from  train  windows  was 
prohibited  but  that  there  has  been  no 
public  announcement  of  the  ruling. 

I  thought  that  this  incident,  obviously 
resulting  from  our  country  going  on  a 


war  footing,  was  worth  reporting  to  the 
Amateur  Cinema  League. 

William  Wessel,  ACL 
Bronxville,  N.  Y. 

Thank  you  very  much,  Mr.  Wessel.  The 
ACL  has  inquired  into  this  incident  with 
responsible  officials  of  the  New  York 
Central  Railroad,  and  we  have  received 
from  them  the  following  information: 

The  New  York  Central  has  received  no 
notice  from  any  Washington  source  of 
such  a  federal  prohibition.  However,  they 
say,  all  railroads  today  are  discouraging 
picture  taking  either  from  their  trains 
or  on  railroad  property — which  they  have 
every  right  to  do  if  they  think  best. 
Specifically,  all  of  NYC's  train  personnel 
and  their  line's  roving  railroad  police 
have  been  charged  with  enforcing  this 
purely  company  decision.  The  Federal 
Bureau  of  Investigation,  says  Central,  is 
not   involved. 

The  ACL,  in  the  light  of  this  report, 
urges  its  members  to  employ  mature  judg- 
ment and  circumspection  in  their  future 
filming. 


In  this  column  Movie  Makers  offers  its  readers 
a  place  to  trade  items  of  filming  equipment  or 
amateur  film  footage  on  varied  subjects  directly 
with  other  filmers.  Commercially  made  films  will 
not  be  accepted  in  swapping  offers.  Answer  an 
offer  made  here  directly  to  the  filmer  making  it. 
Address  your  offers  to:  The  Swap  Shop,  c/o 
Movie  Makers. 


EXCHANGE    CLUB   BULLETINS 

Dear  Movie  Makers:  We  members  of 
the  Wanganui  Amateur  Cine  Society 
would  like  to  exchange  our  club  bul- 
letin for  any  others  published  by  ama- 
teur movie  clubs  in  the  United  States 
or  overseas. 

T.  Ruscoe 
Librarian 
Wanganui  Amateur  Cine  Society 
15  Mawae  Street 
Wanganui,  New  Zealand 

MELBOURNE   FOR   USA 

Dear  Sirs:  I  am  anxious  to  obtain  good 
original  8mm.  Kodachrome  footage  of 
Honolulu,  San  Francisco  and  New  York 
City,  in  exchange  either  for  raw  film  or 
equal  Kodachrome  footage  of  Mel- 
bourne and  environs,  taken  from  a 
tripod.  Please  write  me  airmail. 

Noel  R.  Abrecht 
294-298  Little  Collins  Street 
Melbourne,  Australia 

BRAZIL   IN    16MM. 

Dear  Fellow  Filmers:  I  am  interested 
in  swapping  35mm.  color  slides  and 
16mm.  color  movies  of  Brazilian  sub- 
jects for  scenes  in  your  country.  Let  me 
hear  from  you — air  mail,  please. 

Francisco  Silva,  Jr.,  ACL 
Caixa  251-B 
Sao  Paulo.  Brazil,  South  America 


COMMONWEALTH 


Announces 
THREE  New  Additions 

to  the 

Edward  Small  Group 
Now  making  |Q  in  all 


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f<*<»4rcZ)UtMas' 

Count 

OF 

MOiVTf 
CBISTO 

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LOWS  "*" 

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SANDERS   XjfT 
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MYSON'uySON  / 


Madeleine  Co 
Moraine  Day 


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^ Xf  THEJROK  MASK 

a  «SK5£»  after  dark 

KIT  CARSON  Aodrcl 

William  Gorgon,   wi 
Moore.  Peggy  *Y<>n 

Wilcoxon  _...re 

FWENDLY  ENEM'ES 

»?£?£$«' 

I  For  Rentals  Communicate  ! 
with  your  leading 
j|P     I6MM.  FILM   LIBRARY  \ 


EXCLUSIVE    I  6  MM    DISTRIBUTORS 

COMMONWEALTH  PICTURES 

CORP. 

723   Seventh  Avenue.  New  York  19,  NY. 


8 


JANUARY    1951 


Visual   Education   Department,   Pawtucket, 

R.  I. 
Austen  Fox  Riggs,  II,  Cambridge,  Mass. 
W.  G.  Robinson,  Logan,  W .  Va. 

F.  A.  Turner,  Portland,  Ore. 
Harry  D.  Brown,  Los  Angeles,  Calif. 
Dr.  William  B.  Gnagi,  Monroe,  Wise. 
Larry  E.  Miller,  San  Jose,  Calif. 

H.  M.  Phillips,  San  Angelo,  Texas 

Jerome  Brown,  Bergenfield,  N.  J. 
Laio  Martins  Filho,  Sao  Paulo,  Brazil 
Raymond  W.  House,  Norwalk,  Calif. 

C.  A.  Kimball,  Cumberland,  Md. 
Marien  A.  Peterson,  Davenport,  Iowa 
Harold  S.  Randall,  Rutherford,  N.  J. 
Abbott  Robinson,  Sheffield,  Mass. 
Aubrey  A.  Ross,  Orlando,  Fla. 

Luiz  G.  Schleiniger,  RGSul,  Brazil 

G.  M.  Scott,  Los  Angeles,  Calif. 
Mervin  Fleisher,  New  York  City 

Marcel  Gandibleu,  Elisabethville,  Belgian 

Congo 
Rev.  Cyprian  Sondej,  Auburn,  N.  Y. 
J.  H.  Dickey,  Seattle,  Wash. 
Charles  A.  Freeman,  jr..  River  Forest,  III. 
H.  E.  Mangram  Tulsa,  Okla. 
Minoo  Parekh,  Bombay,  India 
James  Spencer  Elliott,  Montreal,  Canada 
Emil  Charles  Fitzpatrick,  New  York  City 

D.  H.  Stewart,  Hong  Kong 


IN  FILMING  ON  SNOW  you  can 
avoid  having  the  tripod  tips  sink  down 
by  mounting  them  on  ski-pole  rings  or 
small   pieces  of  plywood. 

George  L.  Beyers,  Port  Smith,  Ark. 
Jack  Greenberg,  Philadelphia,  Pa. 
Gerdie  Holzman,  Cleveland,  Ohio 
Engelbert  E.  Sercu,  Rochester,  N.  Y. 
Dr.  Leon  Tempkin,  Brooklyn,  N.  Y. 
W.  Vendeville,  San  Francisco,  Calif. 
Mr.  &  Mrs.  Ralph  A.  Behr.  Denver,  Colo. 
Joseph  Mayerschoff,  Philadelphia,  Pa. 
Geo.  W.  Thompson,  Chicago,  III. 
Dr.  E.  J.  Chapman,  Asheville,  N.  C. 
A.  L.  Clark,  jr..  Port  Neches,  Texas 
Robert  Coulombe,  San  Francisco,  Calif. 
Plainfield  Cinema  League,  Plainfield,  N.  J. 

0.  R.  Powell,  Asheville,  N.  C. 

Dr.  Robert  Schell,  Swannanoa,  N.  C. 

Dr.  Henri  I.  Berlowe,  White  Plains,  N.  Y. 

Mrs.  M.  0.  Carmichael.  Klamath  Falls,  Ore. 

Norbert   Ruhland,   Ottawa.  III. 

Lawrence  Iwamoto,  Honolulu,  T.  H. 

Madison  Movie  Club,  Madison,  Wise. 

Ethyl  M.  Peasgood,  Bethel,  Alaska 

German   L.  Vazquez,  Madrid,  Spain 

Paul  Zrichuk,  Toronto,  Canada 

Ralph  Albee,   Watsonville,  Calif. 

Mrs.  Edith  K.  Combes,  Sheffield,  Mass. 

Amateur  Cinema  Club  of  Buffalo,  Buffalo, 
N.  Y. 

Lawrence  H.  Moore,  Salt  Lake  City,  Utah 

CWO  Kenneth  E.  Roberson,  do  PM.  New 
York  City 

Cinema — 16 — Club,   Omaha,  Neb. 

N.  P.  Hariharan,  Jagathy,  India 

John  Heitman,  Park  Ridge,  N.  J. 

Anne  M.  Evans,  Pleasantville,  N.   Y. 

Ellis  Krohn,  Oneonta,  N.   Y. 

Mrs.  Andrew  Winton  Roth,  New  York  City 

Gene   Arneson,  Kenosha,   Wise. 

Modestino  Deloy  Gibbon,  Asuncion,  Para- 
guay 

Prud°ncio  Llach  Hijo,  Santiago  de  Maria, 
El  Salvador 

Capt.  R.  W.  Orrell,  Cardinal,  Va. 

Ronald   Flint,  Johannesburg,  South   Africa 

Dr.  W.  J.  Huddleston,  Denver,  Colo. 
Kenneth  F.  Klein,  Los  Angeles,  Calif. 
Angus  P.  Mclntyre,  New   York  City 
D.  B.  Morrison,  White  Plains,  N.  Y. 
John  J.  Rice,   Wilkes  Barre,  Pa. 
George  Sherman,   Gloversville,  N.   Y. 
W.  H.  Boxman.  Narberth,  Pa. 
Charles  W.  Gabler,  Los  Angeles,  Calif. 
Fred  A.  Gabler,  Van  Nuys,  Calif. 


A  warm  welcome  is  extended  to  all  of  the  new 
ACL  members  listed  below.  They  have  been 
elected  to  and  joined  the  League  since  our  last 
publication.  The  League  will  be  glad  to  forward 
letters  between  members  which  are  sent  to  us 
with   a  covering   note   requesting   such   service. 


J.  S.  Morgan,  San  Angelo,  Texas 
Blaney  B.  Blay,  Elgin,  III. 
Francis  X.  Dalton,  Cincinnati,  Ohio 
Pelham  Camera  Club,  New  York  City 
Fred  W.  Pembleton,  Fort  Wayne,  Ind. 
James  Pol'ak,  Brooklyn,  N.  Y. 
Edward  Seltzer,  New   York  City 
Louis  D.  Knowks,  Washington,  D.  C. 
A.  H.  Lochner,  University  Park,  Md. 

Springfield   College,   Springfield,   Mass. 

R.  E.  Vetter,  Calvary,   Wise. 

Cpl.   Harrison   W.   Gaston,  San  Francisco, 

Calif. 
L.  E.  Houston.  Toronto,  Canada 
Dr.  J.  Vernon  Scott,  Los  Angeles,  Calif. 
E.   A.   Chamberlain,  Detroit.  Mich. 
Robert  Victor  Hindmarsh,  Whitby,  England 
Mrs.  J.  R.  Lofgren,  B/oomfield,  Iowa 
Percy  Hulbert,  Manchester,  Conn. 
Frank  Repash,  Allentoum,  Pa. 
Cape    Town    Photographic    Society,    Cape 

Town,  South  Africa 
Willy  Hald,  New  York  City 

Tjon-A-Tjoe  Frederik  Hendrik,  Willemstad. 
N.W.I. 

Earl   L.  Kochenderfer.   Boston,  Mass. 

J.  Ashby  Miller.  Louisville,  Ky. 

Dr.  H.  M.  Tymvios,  Nicosia,  Cyprus 

Armand  F.  Cole,  Washington.  D.  C. 

W.  Godsell,   Washington,  D.  C. 

W.  J.  Doherty,  Briarcliff  Manor,  N.   Y, 

John  Galloway,  Calgary,  Canada 

Nils  Sandstrom.  Brooklyn,  N.  Y. 

Harry  A.  Shapiro,  Montreal,  Canada 

George  Planje,  jr.,  c/o  FPO.  San  Fran- 
cisco, Calif. 

E.  G.  Brown,  Toronto,  Canada 

W.  W.  Cherry,  Toronto,  Canada 

William  E.   Gregory,  Birmingham,  Ala. 

Alphonse  M.  L.  Paolantonio.  Johnston,  R.  I. 

Harvey  Weinstock,  New  York  City 

FAMOUS  MOTION  PICTURES  of 
the  early  days  in  film  history  are  being 
added  to  the  study  collection  at  George 
Eastman  House,  the  world  photographic 
center  in   Rochester,   N.  Y. 

Dr.   M.   Neal   Benjamin,  Barbourville,  Ky. 
Mrs.  A.  J.  Castillo,  Portland,  Ore. 
A.  Weir  Eckenswiller,   Weston,  Canada 
Franklin  County  Camera  Club,  Greenfield, 

Mass. 
Jack  E.  Gieck.  Detroit,  Mich. 
Edward  V.  McKenna,  Maiden,  Mass. 
Earl  0.  Price,  Lakeport,  Calif. 
Halbert  F.  Speer,  Neiv  York  City 
E.  M.  Tyler,   Washington,  D.   C. 

Ivan  Clyde  Collins,  LaPorte,  Ind. 

John  E.  Clardy,  Tucumcari,  N.  M. 

Col.   Edwin  E.   Hebb,  Detroit,  Mich. 

Radio-TV  Office,  Iowa  State  Teachers  Col- 
lege, Cedar  FaUs,  Iowa 

Dr.  Donald  E.  Moore,  Decorah.  Iowa 

SFC  Ralph  B.  Gordner,  c/o  PM.  San  Fran- 
cisco, Calif. 

Robert  W.  Kruger,  Jersey  City,  N.  J. 

Oscar  Perlberger,  New  York.  City 

William  Rizzo,  Chicago,  III. 

Oscar  L.  Van  Horn,  Newark,  N.  J. 

James  L.  Howard.  Denver,  Colo. 

Victor  Kaufman.  Hamilton,  Canada 


Parkchester  Cinema  Club,  New  York  City 

Noel  R.  Abrecht,  Camberwell,  Australia 

Leonard  Chertok,  New  York  City 

Mrs.  Mildred  Cooper,  Hollywood,  Calif. 

Anton  Kroft,  Chicago,  HI. 

Edwin  John  Robinson,  Belleville,  N.  J. 

Ira  D.  Staggs,  Baker,  Ore. 

John  I.  Stroud,  Moorestown,  N.  J. 

John  E.  Brecht,   Cincinnati,  Ohio 
J.  B.  Dalton,  Abilene,  Texas 
Hal  H.  Harrison,   Tarentum,  Pa. 
John  C.  Pertgen,  Chicago,  III. 
Roger  H.  Rosen,  Denver,  Colo. 
Dr.  S.  L  Siegler,  Brooklyn,  N.  Y. 
H.  M.  Alarid,  Gabbs,  Nev. 
Irwin  M.  Auerbach,  Brooklyn,  N.   Y. 
Hon.  J.  D.  Begin,  Dorchester,  Canada 
V.  J.  Penso,  Cape  Town,  South  Africa 
Kenneth  S.  Redford,  Harrison,  N.  Y. 
Dr.  A.  Richler,  Montreal,  Canada 
Louis  Roberts,  Long  Island  City,  N.  Y. 
Ormal  I.  Sprungman.  San  Diego,  Calif. 

IN  COLD  WEATHER  when  your 
camera  is  taken  indoors,  vapor  condensa- 
tion forms  on  the  lens.  This  dampness 
should  be  removed  with  lens  tissue  or 
allowed  to  dry  off  before  using  the 
camera. 

Howard  Branston,  Brooklyn,  N.  Y. 

Arthur  G.  Schoenlaub,  Hasbrouck  Heights, 

N.J. 
Richard  Gutmann,  New  York  City 
John   Yurchak,  Philadelphia,  Pa. 
Margaret  Ketchum.  Detroit,  Mich. 
Robert  E.  Rice,  Duncan,  Okla. 
William  Zucconi,  Red  Bank,  N.  J. 
Landsforbundet  Danmarks  Filmamatorer, 

Kobenhavn,  Denmark 
W.  M.  Reese,  Smethport,  Pa. 
Otto  J.  Slatinsky,  Chicago,  III. 
Charles   R.    Smith,   Dayton,   Ohio 

Richard  R.  Bard,  sr.,  Perry,  Iowa 

Robert  J.  Durr,  South  Bend,  Ind. 

Ernesto  Fink,  Mexico,  D.  F. 

W.  E.  Fraley,  Abilene,  Texas 

Lloyd  H.  Henry,  Keokuk,  Iowa 

Abe  Reisberg,  Brooklyn,  N.   Y. 

Phillipp  G.  Malmberg,  Daytona  Beach,  Fla 

Lewis  C.  Wollaston,  Alliance,  Neb. 

Denman   Cadden,  Ecorse,  Mich. 

Tom  Camarco,  Hartford,  Conn. 

Raymond   S.   Carter,  Melbourne,  Australia 

Leo  Cogan,  Montreal,  Canada 

Richard  K.  Dean,  Glens  Falls,  N.  Y. 

Jack  J.  Fanburg,  Oakland.  Calii. 

John  F.  Fay,  Forest  Hills,  N.  Y. 

Guy  S.  Howell,  Allen  Park,  Mich. 

Robert  Howell,  River  Rouge,  Mich. 

Perrin  Husted,  Brooklyn,  N.  Y. 
Nicholas  S.  Kalapos,  Detroit.  Mich. 
Stanley  R.  Kelley,  Portland,  Ore. 
Harry  Meade,  New  York  City 
Omaha  Movie  Club,  Omaha,  Neb. 
Edward  O'Neil,  Havre,  Mont. 
Jackson  B.  Pokress,  New  York  City 
August  P.  Rossi,  Taylor  Center,  Mich. 
George  A.  Stacey,  Allen  Park,  Mich. 
Mitz  Stramake,  Ecorse,  Mich. 

John  M.  Vollmerhausen,  Allen  Park,  Mich. 

Marcus  J.  Ware,  Lewiston,  Idaho 

George  R.  Bennett,  Buffalo,  N.  Y. 

Dr.  Alvin  A.   Goldhush,   Bay  Shore,  N.   Y. 

Jack  Klein,  Trenton,  N.  J. 

Yale  Robert  Burge,  New  York  City 

Dr.  Raymond  H.  Dix,  Detroit,  Mich. 

Pedro    A.    Sifre    Franco,    Rio    Piedras, 

Puerto    Rico 
Harry  J.  Frederick,  Pittsburgh,  Pa. 
George  B.  Guthrie,  jr.,  Bartlesville,  Okla. 
F.  T.  Lindquist,  Chicago,  III. 
Charles  H.  Lowry,  D.D.S.,  Logansport,  Ind. 
Leslie  J.  Mahoney,  Phoenix,  Ariz. 
Dr.  A.  C.  Clarke  Mills,   Weston,  Canada 
Murray  L.  Pallas.  New  York  City 
Henry  Wandler,  New  York  City 


GETTING 

"THE  GANNETS 


Illustrations  by  Warren  A.  I.evett,  ACL 


// 


Patience,  planning  and  a  sense  of  humor  were 
key  components  of  1950's  Maxim  Award  winner 

WARREN    A.    LEVETT,    ACL 


LOOKING  back  on  it  now,  I  suppose  that  my  picture,  The 
Gannets,    had    its    true    beginnings    somewhere    about 
1946.  I  had  been  invited  to  a  meeting  of  the  Hartford 
(Conn.)    Cinema  Club,   that   annual  December  meeting  at 
which  the  Maxim  Memorial  Award  winner  for  the  year  was 
shown.  That  started  it,  I'm  sure. 

But  don't  get  me  wrong.  I'm  definitely  not  trying  to  sug- 
gest that  I  promised  myself  that  very  evening  that  "someday 
I  too  would  achieve  that  august  honor."  Far  from  it.  All  I 
can  honestly  claim  is  that  the  evening's  screening  opened 
my  cinematic  eyes.  I  began  to  look  beyond  record  shots  of 
the  family  and  aimlessly  unorganized  vacation  reels.  I  began 
to  realize  that  the  dough  of  technical  competence  must  be 
leavened  with  the  yeast  of  creative  imagination,  if  ever  it  was 
to  rise  above  the  daily  loaf  of  bread.  Put  more  directly,  I  was 
getting  itchy  with  ideas.  About  then,  a  used  Cine-Kodak 
Special  crossed  my  path  with  a  beckoning  price  tag.  I  grabbed 
it  up  and  felt  I  was  ready  for  the  Big  Effort. 

FIRST  VISIT   IN    1947 

But  where  to  go?  Well,  the  Gaspe  Peninsula  of  Canada 
had  always  intrigued  our  family,  so  vacation  time  in  1947 
found  us  touring  that  fascinating  section.  I  shot  sequences 
of  the  usual  stuff,  I  suppose :  farming,  fishing,  the  little  gray 
villages  and  the  like.  But  as  with  all  tourists,  we  gravitated 
inevitably  to  the  pull  of  Perce  and  Bonaventure  Island. 
There  the  fabulous,  flapping  gannet  colony  on  the  island 
proved  of  absorbing  interest,  and  much  more  film  was  ex- 
posed than  the  lighting  conditions  warranted.  But,  in  spite 
of  rain  and  fog,  enough  usable  footage  was  secured  to  put 
together  an  organized  picture  of  sorts  called  Le  Gaspe. 
Locally,  it  enjoyed  a  modest  success.  When,  in  1948,  I  sub- 
mitted it  in  the  ACL  Ten  Best  contest,  the  picture  got  no- 
where. 

BACK  AGAIN  IN  1949 
But  the  gannets  just  wouldn't  let  me  go.  I  had  to  return 
again.  So.  in  1949,  we  were  again  headed  north,  but  this 
time  with  a  single  definite  purpose  in  mind.  Gaspe  was  out; 
this  picture  was  to  be  all  gannets.  But,  obviously,  any  film  on 
just  one  subject  had  to  be  relatively  short,  unconditionally 
interesting  and,  if  possible,  quite  a  little  bit  humorous. 
Neither  of  the  latter  two  conditions  worried  me.  I  knew  from 
experience  that  these  great,  overgrown  "gulls"  were  always 
interesting  and  at  times  ludicrously  funny.  The  unanswered 
question  was  whether  I  would  be  able  to  bring  back  these 
qualities  on  film. 

TECHNICAL  PREPARATIONS 

Leaving  as  little  to  chance  as  possible,  I  provided  myself 

with  a  wide  angle,  1,  2%,  4  and  6  inch  lenses,  all  coated  and 

all  in  the  Cine-Kodak  mount.  Knowing  from  past  experience 

that  it  is  impossible  to  follow  a  fast-flying  bird  with  a  tripod- 


BONAVENTURE  ISLAND,  above,  with  Perce  Rock  in  the  background, 
was  setting  of  The  Gannets,  Maxim  Award  winner  for  1950.  Producer's 
family  play  with  tame  growing  birds,  while  at  bottom  (right  of  cen- 
ter foreground)  can  be  seen  the  feeding  routine  described  by  author. 


10 


SIZE  AND  SCALE  of 
are  suggested  by  still 
host  family,    holding 


mounted  camera,  I  hacked  out  from 
plywood  a  crude  gunstock  mount;  it 
was  to  prove  immensely  valuable. 
The  lettering  of  the  main  title,  credit 
title  and  end  title  was  prepared  in 
advance  and  taken  along  to  be  filmed 
on  live  action  backgrounds.  For  the 
body  of  the  film,  I  felt  that  subtitles 
were  out;  they  would  slow  the  pic- 
ture's pace  too  greatly.  A  wire-re- 
corded narrative  and  music  seemed 
to  be  the  answer;  but  at  this  time  the 
final  form  of  the  narrative  was  still 
undecided. 

EXPOSURE  FOR   KODACHROME 

Looking  over  my  1947  film,  I 
finally  decided  (despite  advice  to  the 
contrary)  to  take  no  pictures  unless 
there  was  a  bright  sun.  Normally,  in 
Gaspesia,  this  often  is  equivalent  to  a 
decision  to  take  no  pictures — period. 
But  adult  gannets  are  pure  white  and,  in  flight,  should  be 
filmed  against  the  deep  blue  sky.  Secondly,  for  flight 
scenes  in  slow  motion,  the  maximum  possible  depth  of 
focus  would  be  needed  when  using  telephoto  lenses.  And 
finally,  a  uniform  light  condition  would  greatly  simplify 
the  problem  of  exposure. 

I  finally  settled  on  //ll  as  the  basic  aperture  for  front 
or  side  lighted  scenes  at  16  fps  camera  speed.  Actually,  I 
extended  this  to  cover  gannets  flying  almost  directly  over- 
head, where  they  were  back  lighted.  For,  don't  forget,  the 
sun  will  shine  right  through  the  white,  extended  wing 
feathers.  After  processing,  this  exposure  standard  was 
found  to  be  correct  save  under  one  condition.  With  the 
clear  sun  directly  behind  the  camera,  the  gannets  were 
slightly  overexposed.  This  suggests  an  aperture  halfway 
between  //ll  and  //16  for  the  fully  front-lighted 
plumage;  but  if  it  were  used  both  the  background  and  the 
sky  would  be  too  dark.  Therefore,  the  ideal  exposure 
standard  seems  to  be  //ll  under  side  lighting  only. 

WE  LIVED  ON  THE  ISLAND 

With  these  preparations  and  decisions  made,  we  were 
ready  for  the  field.  Being  old  Gaspesian  travelers  by  this 
time,  we  frowned  upon  the  mainland  tourist  accommoda- 
tions and,  instead,  lodged  ourselves  with  a  fine  old 
English  family — the  Arthur  Majors — living  directly  on 
Bonaventure  Island.  Here  we  received  board  and  room, 
boat  rides  and  help  in  carrying  our  camera  gear —  all  for 
a  very  modest  sum.  And  when  I  mention  help  in  toting 
the  cameras,  just  consider  that  all  of  the  five  or  six  fam- 
ilies who  live  on  Bonaventure  are  on  the  west  side  of  the 
island.  The  gannets  occupy  the  cliffs  three  miles  away — 
and  all  uphill — to  the  east. 

In  passing,  it  may  be  noted  that  I  found  an  Army 
knapsack  the  easiest  way  to  carry  the  movie  camera,  three 
or  four  lenses,  an  extra  film  chamber,  film  and  the  count- 
less other  gadgets  with  which  we  movie  makers  burden 
ourselves.  This  trip  up  the  hill  was  made  at  least  once  a 
day  for  a  filming  session.  Even  when  I  had  shot  all  the 
film  I  felt  was  necessary,  I  still  crossed  the  island  just  to 
watch  the  birds.  They  honestly  were  that  interesting! 

FILMING   FEEDING  ROUTINE 
Good  weather  favored  us  that  trip,  so  that  I  was  able  to 
get,  in  a  day  or  two,  the  basic  pictures  showing  the  locale. 


these  powerful  birds 
shot  of  John  Major,  of 
a   full-grown   gannet. 


Some  specific  characteristics  of  the 
birds  which  I  wanted  to  show,  how- 
ever, presented  a  more  difficult  prob- 
lem. For  example,  feeding  the  young 
birds  is  a  most  interesting  procedure, 
in  that  the  parents  partly  digest  the 
food,  and  then  regurgitate  as  the 
youngster  thrusts  his  probing  beak 
far  down  the  throat  of  the  older  bird. 
Try  as  I  would,  I  could  not  spot  this 
walking  cafeteria  in  action.  When 
birds  of  this  type  are  nesting  they  are 
very  tolerant  of  humans,  so  I  did  not 
believe  that  my  presence  was  disturb- 
ing them.  But  for  almost  a  week  I 
failed  to  see  a  single  feeding  opera- 
tion. And  then  suddenly,  one  day,  I 
saw  it  happen.  Although  my  camera 
was  not  ready  at  that  moment,  I 
learned  how  to  anticipate  the  feeding 
action,  so  that  I  could  prepare  for  it 
swiftly  in  the  future.  With  this  fore- 
knowlege,  I  soon  had  the  feeding  routine  on  film. 
Still  other  sequences  were  pure  luck.  Consider  a  shot 
of  the  gannets  diving  for  fish.  Frequently  they  have  to 
fly  100  miles  or  more  a  day  looking  for  such  food.  But  I 
stood  on  the  cliff  one  sunny  day  with  the  camera  wound, 
leveled  and  the  6  inch  lens  in  place.  Almost  without 
warning  a  school  of  fish  appeared  a  few  hundred  feet 
from  shore.  Instantly  the  air  and  water  were  filled  with 
whirling,  diving  gannets;  then,  within  thirty  seconds,  the 
fish  were  gone.  But  I  had  the  scene  recorded! 

THE  BIRDS  BOW  OUT 
Obtaining  the  final  scene  for  the  film  required  the  most 
patience,  but  afforded  the  greatest  pleasure  of  achieve- 
ment. Courtship  ritual  requires  that  loving  gannets  bow 
to  each  other.  When  one  bird  has  been  away,  if  only  for 
a  little  time,  he  and  his  mate  go  into  an  animated  bowing 
routine  on  being  reunited.  To  get  two  lovers  bowing  was 
easy;  but  to  find  an  absent  minded  gent,  bowing  to  no 
one  in  particular  was  the  design.  Further,  he  had  to  be  at 
the  cliff's  edge,  so  that  the  dark  water  served  as  a  back- 
ground. After  innumerable  false  alarms,  one  such  charac- 
ter was  found,  and  he  performed  to  perfection.  The  film 
now  concludes — rather  uproariously,  it  seems — with  him 
bowing  pompously  as  The  End  fades  in  over  his  head, 
and  the  narrative  voice  intoning:  "Thenk  yuhl  Thenk  yuh 
very  much!" 

NOW  FOR  THE  NARRATIVE 

Editing  was  relatively  easy,  with  about  450  of  750  feet 
shot  going  into  The  Gannets  and  some  100  feet  being  dis- 
carded as  below  par.  But  the  narration  now  began  to 
plague  me.  Merely  commenting  impersonally  about  the 
gannets  did  not  appear  to  be  the  answer,  for  previous 
experience  with  that  method  had  shown  its  danger  of 
becoming  dull.  Completion  was  delayed  while  a  solution 
was  sought.  And  then  I  saw  the  light — I  would  put  the 
narration  into  the  mouth  of  a  gannet!  After  that  there 
was  no  trouble.  For,  by  impersonating  a  gannet,  I  could 
poke  fun  at  the  photographer  himself  and,  of  equal 
importance,  retain  in  the  film  certain  scenes  difficult  to 
include  in  any  other  way.  There  were,  finally,  numerous 
opportunities  for  humorous  byplays — as  in  the  ending 
cited  above. 

The  musical  background  was  [Continued  on  page  33] 


11 


BEHIND-THE-LENS  FILTERS 


A  reader  sums  up  his  simple  system  of  cutting  and  using  thin  gelatin  niters 


HERMAN    E.  DOW,  ACL 


Aperture  Jl* 


•Shutter 


FIG.    1:    Design    of    turret 
positioning    of    filter    by 


I    HAVE  followed  with  great  interest 
the  suggestions  on  behind-the-lens 
filtering   presented   by   Homer   E. 
Carrico,  ACL.  and  Ernst  Wildi,  ACL, 
in  The  Clinic  for  October  and  Decem- 
ber, respectively. 

Every  movie  maker  with  more  than 
one  lens  faces  this  same  problem — 
the  multiplicity  of  filters  necessary  to 
provide  a  complete  set  for  lenses  of 
different  diameters.  After  lugging 
around  for  years  a  small  satchelful 
of  assorted  filters  and  filter  holders,  I 
too  decided  that  behind-the-lens  place- 
ment was  the  answer.  Here's  the  way 
I    worked    it   out,    using    only    the    thin    gelatin    filters. 

My  cameras  were  (and  still  are)  the  Filmo  70-DA 
and  the  Filmo  153-B,  both  16mm.  This  combination  of 
cameras  gave  me  a  turret  type  and  a  single  lens  type 
with  which  to  experiment.  I  found  that  with  both  of 
them  there  was  enough  room  between  the  rear  of  the 
lens  barrel  and  the  camera  aperture  to  permit  the  inser- 
tion of  a  thin,  lacquered  gelatin  filter.  Whether  this  will 
be  true  with  8mm.  cameras  and  other  makes  of  Sixteens 
I  am  not  in  a  position  to  say.  But  it  is  easy  to  determine. 
And  it  is  certainly  worth  investigating. 

With  the  turret-type  camera  there  is  every  likelihood 
that  enough  room  for  the  filter  will  exist,  because  of 
the  necessity  of  designing  the  camera  front  to  accept 
the  turret  mount.  Indication  of  this  will  be  seen  in  Fig. 
1,  diagraming  the  construction  of  a  typical  turret  lens 
mount.  With  a  single  lens  camera  there  is  less  surety  of 
adequate  room,  but  it  can  be  checked  easily. 

Begin  by  unscrewing  the  lens  from  its  threaded  mount. 
Now  measure  the  length  of  the  lens  barrel  from  its  outer- 
most thread  to  the  extreme  inner  end  of  the  barrel.  A 
similar  measurement  should  then  be  made  from  the  front 
of  the  lens  seat  to  the  film  aperture.  Obviously,  if  the 
threaded  length  of  the  lens  barrel  equals  the  second 
measurement,  there  is  not  room  for  the  filter  as  is.  Any 
insertion  under  these  circumstances  would  throw  the  lens 
out  of  focus.  However,  it  is  often  possible  in  such  cases 
to  grind  away  the  threaded  portion  of  the  lens  barrel 
enough  to  create  filter  room.  I  have  done  this  already 
to  one  of  my  lenses  so  that  it  might  be  used  on  the  turret 
camera  without  rubbing  against  the  camera  face. 

Assuming,  then,  that  there   is  room  in   your  camera 


Lens  5ep\i 


Filter 


^./Turret 


front    camera    and 
friction    are    above. 


Lens  Sert 


Filter 


Aperture 


.Shutter 


FIG.   2:   Simplicity   of   single   lens   camera   de- 
sign   permits    holding    filter    with    lens    barrel. 


APERTURE 


Notch 


to  insert  a  gelatin  filter,  the  next  step  is  to  create  a  filter 
unit  of  the  correct  diameter.  With  the  turret  front  camera, 
this  diameter  should  be  just  slightly  larger  than  the 
circular  opening  in  which  it  will  fit.  For,  the  snugness 
of  this  fit  will  be  the  only  force  holding  the  filter  in 
place.  It  is  recommended,  therefore,  that  the  diameter 
of  the  filter  be  .002  to  .004  of  an  inch  larger  than  the 
diameter  of  the  opening.  With  the  single  lens  camera, 
this  oversizing  is  not  necessary,  since  the  rear  end  of 
the  lens  will  hold  the  filter  in  place.  See  Fig.  2. 

Having  determined  the  correct  diameter  of  the  filter 
for  my  cameras  (one  size  worked  for  both),  I  then 
ground  out  a  hollow  punch  with  which  to  stamp  out  the 
filter  discs.  Creation  of  a  punch  of  this  sort  is  desirable, 
since  it  assures  that  all  filter  discs  cut  by  it  will  be  of 
the  correct  and  uniform  size.  The  inside  diameter  of  the 
punch  was  arrived  at  simply  by  trial  and  error. 

In  use,  the  punch  should  be  employed  as  follows :  place 
a  2  inch  square  of  gelatin  filter,  still  in  the  protecting 
paper  in  which  it  comes,  on  a  flat  piece  of  hard  wood. 
Position  the  punch  on  the  filter  square  (I  can  cut  four 
filter  discs  from  the  2  inch  piece),  place  another  piece 
of  wood  on  top  of  the  punch,  and  then  strike  the  wood 
sharply  and  squarely  with  a  hammer.  Properly  done, 
one  blow  of  the  hammer  will  cut  the  filter  cleanly. 

The  filter  disc  will  now  be  lodged  in  the  bottom  end 
of  the  hollow  punch.  It  may  be  removed  from  the  punch 
by  gentle  pressure  of  the  blunt  end  of  the  special  tweezers, 
brought  to  bear  only  along  the  edge  areas  of  the  filter 
which  will  not  be  in  front  of  the  camera  aperture.  In 
fact,  all  handling  of  these  gelatin  filters  should  be  done 
with  the  tweezers  only.  [Continued  on  page  33] 


IED 


n 

L. 


CENTRAL  PORTION  only  of  filter  covers  camera  aper- 
ture, so  it  can  be  tweezered  on  edges  and  in  notch. 


HOLLOW  PUNCH  of  exact  diameter  desired 
is  helpful  accessory  in  cutting  uniform  discs. 


SPECIAL   TWEEZERS   are  formed   by 
bending    tips    of    regular   tweezers. 


12 


LOOK  AT  YOUR  LIGHTING! 

Is  your  interior  lighting  pleasant,  honest,  effective? 

Here  are  more  guides  to  good  pictures  indoors 


Photographs  for  MOVIE   MAKERS   by    LEO     J.     HEFFERNAN,     FACL 


I  AST  month,  in  A  Lighting  Formula,  we  defined  picto- 
^^  rially  the  basic  function  of  each  of  the  four  units  in 
a  well  rounded  lighting  pattern.  These  units  were, 
you  should  recall,  the  key  light  for  illumination,  the  fill 
light  to  balance  the  shadows,  the  back  light  for  glamour, 
and  the  background  light  for  separation.  In  this  presen- 
tation, the  individual  contribution  of  each  of  these  units 
was  separately  illustrated,  climaxed  by  a  single  picture  in 
which  these  effects  were  combined  in  a  harmonious, 
integrated  whole. 

EFFECTS  CAN   BE  VARIED 

However,  it  should  not  be  assumed  that  the  effects 
illustrated — either  singly  or  in  combination — are  the 
only  ones  possible  with  this  four-light  formula.  The  end 
product  may  be  as  varied  as  is  the  willingness  of  the  ama- 
teur cameraman  to  experiment.  As  he  does  so,  there  are 
three  standards  to  which  he  should  refer  in  the  placement 
of  each  light. 

These  are  (1)  the  position  of  the  light  in  relation  to 
the  subject,  whether  front,  side  or  rear  of  it;  (2)  the 
angle  at  which  the  light  reaches  the  subject,  whether  from 
above,  below  or  level  with  it,  and  (3)  the  nearness  of  the 
light  to  the  subject.  This  latter  decision  will  largely  de- 
termine the  intensity  of  effect  of  each  unit,  since  a  light 
5  feet  from  a  subject,  say,  gives  four  (not  two)  times 
as  much  illumination  as  the  same  lamp  at  10  feet.  Close 
lights,  however,  will  be  harsh  and  "hot,"  so  that  the 
cameraman  continually  must  strike  a  balance  between  il- 
lumination level  and  lighting  effect. 

Learning  to  control  and  balance  these  three  standards — 
position,  angle  and  intensity — is  largely  a  matter  of  train- 
ing and  trying.  The  observant  cameraman  will  learn,  bit 
by  bit,  to  detect  flaws  in  a  lighting  scheme.  A  too-intense 
highlight  often  may  be  eliminated  simply  by  moving  ones 
key  unit  slightly  farther  back.  Or  a  too-dense  shadow  may 
be  brought  into  balance  by  advancing  the  fill  light.  For 


some  time,  at  least,  it  will  serve  the  lighting  novice  well 
to  plot  out  each  setup  on  paper  and  then  to  check  its 
effects  later  against  the  screen  results. 

GENERAL  OR  SPECIAL  LIGHTING 

In  planning  his  effects,  the  cameraman  should  be 
guided  overall  by  whether  the  scene  in  question  calls  for 
general-purpose  or  special-purpose  lighting.  Scenes  in 
the  former  category  are  those  in  which  no  dictation  of  the 
script  or  the  setting  controls  or  delimits  the  lighting  pat- 
tern. With  such  scenes,  the  producer  may  then  design  his 
lighting  scheme  to  achieve  simply  the  most  attractive 
results  with  the  subject  concerned. 

Special-purpose  lighting,  on  the  other  hand,  must  be 
geared  primarily  to  the  effect  called  for.  For  example, 
your  script  may  suggest  a  scene  of  gaiety  and  brightness, 
as  at  a  children's  birthday  party;  the  lighting  in  such  a 
case  should  naturally  be  sparkling,  well  balanced  and  high 
in  key.  Scenes  of  sadness,  mystery  or  fear,  however,  are 
generally  low  in  key,  with  only  a  few  strong  highlights 
contrasting  starkly  with  deep,  sombre  shadows.  Special- 
purpose  lighting  may  also  be  called  for  by  the  presence 
in  the  scene  of  room  lights,  a  fireplace  or  a  window.  Since 
these  objects  are  normally  regarded  as  light  sources,  your 
actual  illumination  of  the  setting  must  make  them  seem,  at 
least  directionally,  to  be  such  sources  in  fact. 

A  GENERAL-PURPOSE  SCENE 
A  good  average  example  of  the  general  purpose  scene 

is  to  be  found  in  our  pair  of  pictures.  Figs.  1  and  1-A. 

Although  room  lights  do  appear  in  the  setting,  they  need 

not    dictate   the   overall   lighting   pattern  since   they    are 

behind  the  subject. 

We  show  first,  in  Fig.  1,  the  flat  and  uninteresting  effect 

created   by   unimaginative  front  light.   One  RFL-2  lamp 

has  been  clamped  to  a  chair  on  each  side  of  the  camera. 

Although  the  basic  illumination   on  the  subject  is  ade- 


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FIG.     1:    Flat,    uninteresting    and    too    contrasty— due    to    dimly 
lit    background— is    this    front    lighting    with    two     RFL-2    floods. 


FIG.     1-A:     Three     planes— fore,     middle     and     background— are 
now    independently    lit,    creating    normal    sense    of    separation. 


13 


FIG.  2:  Ludicrous  are  the  shadows  cast  in  this  cozy  scene, 
if    the    floor     lamp     is     to     be     seeming     source     of     illumination. 

quate  for  exposure,  there  are  a  number  of  fairly  obvious 
faults  in  the  overall  effect.  First,  because  of  contrast,  even 
the  light  on  the  subject  seems  unpleasantly  "hot."  Sec- 
ond, the  two  front  lighting  units  simply  are  not  strong 
enough  to  illumine  the  background  as  well  as  the  subject, 
thus  creating  the  high  contrast  and  the  gloomy  setting. 
And  third,  the  weak  illumination  of  the  normal  bulbs  in 
the  desk  and  standing  lamps  is  not  strong  enough  to  come 
through  against  the  photoflood  lighting. 

The  cameraman  wishing  to  light  this  scene  more  at- 
tractively (and  yet  with  seeming  normality)  would  first 
replace  the  house  bulbs  in  the  two  lamps  with  No.  1  photo- 
floods.  Since  there  will  be  three  such  units  in  the  standing 
lamp,  it  now  can  come  through  successfully  and  at  the 
same  time  serve  as  a  background  light.  As  for  the  desk 
lamp,  its  normal  appearance  should  be  bright  in  level. 
Thus,  to  accent  this  effect,  the  key  light  which  illumines 
the  girl's  face  is  placed  high  and  moved  away  from  her 
until  a  soft,  slightly  underlit  appearance  is  imparted  to  the 
face.  Note,  in  contrast,  how  much  more  appealing  this 
effect  is  than  the  "hot"  lighting  of  Fig.  1. 

The  cameraman  would  now  notice  that  both  the  desk 
and  standing  lamps  might  be  expected  to  rim  light  the 
girl's  hair.  To  simulate  and  assure  this  effect  he  therefore 
trains  a  spotlight  on  her  head 
from  behind,   adding   depth  as 
he  adds  glamour.  Finally,  since 
the  dark  wood  of  the  secretary 
absorbs  a  majority  of  the  light 
thus  far  falling  on  it,  a  single 
RFL-2  is  clamped  to  its  top  and 
pointed  down.  This  prevents  the 
upper    central   portions    of   the 
picture  from  appearing  underlit. 


A  SPECIAL-PURPOSE  SCENE 
A  simple  but  satisfving  ex- 
ample of  the  special  purpose 
scene  will  be  found  in  the  pair 
of  pictures.  Figs.  2  and  2-A. 
Here,  with  the  floor  lamp  at  the 
side  of  the  reading  figure,  the 
observant  cameraman  will  rec- 
ognize that  all  of  his  illumina- 
tion must  seem  to  come  from 
that  floor  lamp.  Actually,  of 
course,  very  little  of  the  light 


FIG.  2-A:  With  objects  away  from  wall  and  lighting  restyled, 
scene    now    has    honest    simplicity    of    an    early    Dutch    painting. 

it  can  provide  will  be  photographically  useful,  despite  the 
insertion  of  a  No.  1  flood  bulb. 

Fig.  2  shows  graphically  some  of  the  ludicrous  effects 
which  can  be  created  if  special  purpose  lighting  is  not 
adhered  to  in  scenes  that  call  for  it.  To  begin  with,  no 
lighting  unit  thus  far  known  ever  cast  a  shadow  of  itself — 
much  less  two  of  them.  Further,  if  the  floor  lamp  is  to  seem 
the  true  light  source,  we  know  too  that  it  could  not  cast 
a  shadow  of  the  reading  figure  on  the  wall  in  front  of 
that  figure. 

One  cause  of  these  difficulties  is  that  all  of  the  objects 
in  the  scene — lamp,  table  and  figure — are  too  close  to 
the  backgrounds.  Thus,  the  first  thing  the  cameraman  will 
do  is  to  move  these  objects  away  from  the  walls.  The  dif- 
ference in  their  placement  is  clearly  notable  between  Figs. 
2  and  2-A. 

Next,  of  course,  must  come  an  entire  revamping  of  the 
lighting  pattern.  Actually,  the  pleasant,  apparently  simple 
effect  created  in  Fig  2-A  was  achieved  by  the  knowing 
placement  and  angling  of  four  different  spotlight  units. 
One  of  these,  placed  high  and  to  the  right  of  the  camera, 
serves  as  a  key  light  on  the  girl's  face  and  figure.  A  sec- 
ond was  trained  on  her  hair  from  left  rear  to  create  sepa- 
ration   from    the    dark    curtain         [Continued  on  page  25] 


FIG    3:    Too    strong    a    highlight    on    model's 
face  makes  her  nose  seem  big  and  gleaming. 


FIG.    3-A:    Softer    lighting    and    better    pose 
reveal    true    charm    of    this    attractive    model. 


14 


Fred    Frater 


TURN  TO  A  HOBBY,  urges  the  author,  to  keep  your  camera   humming 
during  the  winter  months.  Model  railroading  needs  wide  angle  for  depth. 

OKAY,  so  there's  nothing  left  of  Christmas  except 
some  pine  needles  behind  the  radiator.  New  Year's 
Eve  has  come  and  gone,  and  the  party  hats  are 
in  the  attic,  the  empty  bottles  in  the  trash  barrel.  Nothing 
is  about  to  happen — in  fact,  there  isn't  a  birthday  in  the 
family  for  two  months.  What  now?  Are  you  going  to  stow 
away  your  movie  equipment  where  both  moth  and  rust 
might  corrupt? 

Don't  do  it.  Keep  in  practice.  And  to  keep  in  practice  it 
isn't  necessary  to  load  your  camera  and  grind  away  hun- 
dreds of  feet  of  a  sparrow  eating  bread  crusts  in  your 
bird  feeding  station.  Nor  to  film  aimless  reels  of  nothing 
in  particular.  What  if  it  is  zero  outdoors?  What  if  a  four- 
foot  snowdrift  does  block  your  garage  door?  Do  your 
filming  inside. 

These  winter  months  provide  a  good  opportunity  for 
glancing  through  those  dusty  reel  cans  and  taking  another 
look  at  the  countless  unedited,  untitled,  unplanned  movies 
you've  taken  in  the  past.  Perhaps  they  are  movies  you 
took  when  an  utter  beginner.  Perhaps  they  are  movies 
you  wouldn't  think  of  projecting  for  friends — at  least,  not 
in  the  shape  they're  in.  (Your  movies,  not  your  friends.) 

All  right,  let's  have  some  fun  with  them.  Let's  make 
them  into  interesting  filmfare. 

For  example,  perhaps  you  have  plenty  of  footage  of 
unrelated  action  taken  back  ten  or  fifteen  years  ago.  Some 
of  the  shots  look  plenty  amateurish.  There's  no  semblance 
of  a  scenario  or  even  a  running  gag.  Maybe  some  of  your 
subjects  were  "beheaded"  by  the  camera;  maybe  you 
didn't  use  a  tripod;  maybe  there's  a  dizzy  tilt  to  the  pic- 
tures, or  they're  jerky  from  too-short  scenes.  Okay,  leave 
it  all  in.  The  funnier,  the  better.  Only  let's  wrap  it  all  up 
together  by  shooting  some  titles  for  the  various  scenes  and 
a  main  title  like:  Remember  When?  You  can  add  a  sense 
of  age  to  these  titles  by  printing  or  lettering  the  captions 


Winter 

projects 


WILLIAM    L.    LUCAS 

in  an  old-fashioned  style.  After  these  titles  are  spliced  in 
the  film,  then  we'll  want  to  take  a  few  interior  shots  to  use 
with  this  old  film,  as  follows: 

Shoot  some  footage  of  your  wife,  or  other  member  of 
your  family,  looking  through  your  old  movie  files.  She 
selects  a  reel,  blows  the  dust  off  it.  You  enter  the  scene. 
She  shows  you  the  reel,  and  in  pantomime  suggests  that 
you  project  it.  At  first  you  refuse,  but  in  the  manner  of 
all  wives  she  finally  persuades  you  to  show  it.  You  set  up 
the  screen.  The  projector.  You  and  your  wife  settle  down 
in  comfortable  chairs,  then  lights  out.  The  projector  lamp 
is  switched  on.  At  this  point  you  splice  in  the  old  reel. 
Then  end  with  a  shot  of  the  darkened  room,  lights  on, 
and  you  and  your  wife  in  a  happy  reminiscent  mood. 

Or  you  could  use  that  same  old  reel,  with  its  new  titles, 
in  another  way.  If  you  belong  to  an  amateur  movie  club, 
film  a  script  similar  to  the  following:  The  club  is  having 
a  picture  contest.  You  attend,  hand  in  your  entry,  very 
proud.  Again  lights  out,  and  your  picture  is  projected 
at  the  club  meeting.  There  are  frequent  closeups  of  you, 
in  semi-darkness,  horrified  as  you  realize  you've  brought 
the  wrong  reel  to  be  entered  in  the  contest.  When  lights 
go  on  again,  you  jump  up  to  explain  your  error,  but  you 
are  awarded  a  prize  for  the  Best  Comedy.  Blithely  you 
accept  the  prize.  Fade  out. 

Another  interesting  pastime  is  to  make  a  documentary 
film.  Perhaps  during  the  years  you've  taken  a  lot  of  foot- 
age of  your  youngster's  first  bath,  his  first  step,  his  first 
birthday  party,  his  first  vacation,  his  first  day  at  school,  etc. 
If  you  are  normal,  you  probably  shot  a  lot  more  than  the 
necessary  footage  of  each  event.  If  so,  take  a  few  feet  out 
of  each  film.  Splice  them  together  in  chronological  order. 
Make  some  new  titles  to  explain  the  various  scenes.  Then 
make  a  main  title  such  as:  Growin  Up!  When  completed, 
you'll  find  such  a  film  is  very  interesting  to  you  as  par- 
ents, also  to  your  friends.  For  it  will  reveal  vividly  the 
growing-up  process,  the  change  from  babyhood  to  a 
youngster,  from  a  youngster  to  a  youth,  if  your  offspring 
is  that  old. 

Still  another  way  to  keep  your  camera  busy  on  winter 
nights  is  to  film  a  hobby  or  an  interesting  occupation.  Do 
you  know  of  someone  who  collects  miniatures?  Who 
bands  birds?  Who  has  a  scale-model  electric  train?  If 
so,  clean  off  your  auxiliary  lenses,  think  up  a  script,  and 
start  shooting.  Perhaps  you  have  a  friend  in  the  shoe 
repair  business.  If  so,  then  you  could  film  the  various 
processes  of  cutting  and  stitching  new  leather  soles.  Nail- 
ing on  heels.  Take  plenty  of  closeups  of  the  new-type 
machinery  now  being  used  in  this  occupation,  compared 
to  the  old  hand  methods. 

If  your  movie  club  is  looking  for  a  winter  project,  con- 
tact any  factory  in  your  region  which  might  be  interested 
in  having  their  manufacturing         [Continued  on  page  33] 


There's  plenty  to  picture  between  now  and  the  first  robin.  Keep 

your  camera  skills  in  training  with  one  or  more  of  these  movies 


15 


A  TITLING  TELL-ALL 

Combined  in  one   simple  guide,   this   unique   chart    determines    title    area,    camera-to-card 
distance   and   the   correct   strength   of   diopter   lens.   Save    it   for   reference 

JOHN    E.    CLOSSON 


ANY  movie  maker  who  has  tried  his  hand  at  title 
.  making  knows  well  that,  in  this  technique,  there 
are  a  number  of  important  facts  to  be  known. 
Field  size,  for  example.  In  other  words,  if  your  intended 
title  card  is  to  be  4  inches  wide,  how  high  must  it  be? 
With  this  determined,  how  far  from  this  card  should  the 
camera  be  to  cover  it?  And,  finally,  what  strength  of 
diopter  lens  will  be  needed  to  give  sharp  focus  at  this 
distance  ? 

Each  one  of  these  facts  can  be  determined  by  referring 
to  individual  data  charts.  But  after  a  while  you  get  tired 
of  checking  two,  three  or  four  tables  for  each  titling  op- 
eration. At  least,  I  did.  The  result,  pictured  on  this  page, 


was  the  design  of  a  wholly  new  chart  which  would  com- 
bine, in  a  single  format,  all,  of  the  necessary  information. 
I  have  called  it  a  Nomographic  Title  Chart,  based  on  the 
definition  of  "nomograph"  as  follows:  A  graph  that  en- 
ables one  by  the  aid  of  a  straightedge  to  read  off  the 
value  of  a  dependent  variable  when  the  value  of  the  inde- 
pendent variable  is  known. 

In  the  case  of  title  making,  the  independent  (or  known) 
variables  are  the  width  of  the  title  card  and  the  focal 
length  of  the  lens  to  be  used — since  each  of  these  facts 
can  be  established  at  will  by  the  cameraman.  The  de- 
pendent (or  unknown)  variables  are  the  height  of  the 
title    card,    the    camera-to-card         [Continued  on  page  33] 


3Y-5  mm" 


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NJomogr^phic      Title       Chart 

This     chart     owes     THE.     diopters     of 

AUHILIABY        LENSES         AND        THEIR        DISTANCE 
FROM       THE       TITLE        WHIN       THE        TITLE        WIDTH 
AND      CAMERA      Fot*L      LENGTH     ARC      KNOWN. 

Focusing    mount    lenses     ARe     set      at 

INriMITY        WHEN         AUHILIARf      LENSES   ARC       OSEO. 


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John     E.  Cuosson 


50 


ALL-PURPOSE  TITLING  CHART,  designed  by  author,  can  be  used  with  8mm.  or  16mm.  cameras  and  with  lenses  from  9mm.  to  37.5mm.  in  focal  length.  Photostat  it  for  use-. 


A  SUMMER  COTTAGE  may  often  double  as  a  winter  ski  camp,  but  guests 
must  gather  their  own  firewood.  Such  action  makes  a   good   introduction. 


SHADOW  AND  SILHOUETTE  in  the  foreground  of  a  sun-drenched  snowscape 
add   depth   and   contrast  to  the   scene.   Note  texture  from   cross   lighting.        | 


SKIING    CALLS    YOUR    CAMERA 


Get  outdoors  for  action  urges  this  filmer  from  the  North 


FRANCES    OAKES    BALDWIN 


DEEP  powder  snow,  crisp  winter  air  and  bright  sun- 
shine spell  ski  time  in  Canada — or  elsewhere.  They 
also  spell  good  filming  and  good  fun.  Actually, 
there's  every  type  of  skiing  and  ski  resort  in  Canada, 
from  the  three-mile  downhill  slopes  of  the  Alpine-like 
Rocky  Mountains  to  the  Scandinavian-type  mountains  of 
the  Laurentians.  There  is  every  type  of  accommodation 
offered,  too,  from  cozy  lodges  to  first  class  luxury  resorts. 

VARIED  ACCOMMODATIONS 
But  for  the  average  skier  and  the  average  pocketbook, 
I  think  the  rolling  country  of  the  Gatineau  hills  is  the 
best  area.  There  are  good  ski  centers  at  Chelsea,  Kings- 
mere,  Wakefield,  Morin,  Low  and  Camp  Fortune — #11 
within  about  fifty  miles  of  Ottawa,  Canada's  capital  city. 


AN  EXCEtLENT  OPENING  to  your  sequences  of  cross  country  or 
slalom  skiing   would   be  this   medium   shot  of   unloading  the   bus. 


All  of  these  centers  can  be  reached  easily  by  train,  bus  or, 
over  good  highways,  with  your  own  car. 

Most  of  these  centers  are  small  resorts  charging  about 
five  or  five  fifty  per  day,  although  you  can  get  accommo- 
dation at  farmhouses  (the  White  and  Red  Farm  at  Morin 
Heights,  for  example)  for  as  little  as  two  dollars  a  day- 
including  meals.  Or  you  can  stay  at  swank  luxury  resorts 
which  start  at  ten  dollars  a  day,  American  plan.  In  al- 
most every  case,  you  can  rent  skis,  skates  and  toboggans 
at  the  lodges.  So  if  your  camera  equipment  crowds  out 
your  ski  stuff,  don't  worry  about  it  too  much. 

And  don't  be  worried  about  customs  officials  either 
when  you  come  to  film  Canadian  skiing.  You  will  not 
need  a  passport  to  enter  the  country,  and  there's  no  duty 
on  the  films  or  cameras  you  will  bring  in  to  use.  Do  have 
some  proof  of  your  American  citizenship  to  show  U.  S. 
custom  officials  on  your  way  home,  however. 

START  WITH  CROSS  COUNTRY 
But  let's  get  out  on  the  hills.  The  title  of  your  first 
sequence  might  be:  Here  is  ski  country — with  cross  coun- 
try trails,  tricky  slalom  courses  and  breathless  downhill 
runs.  Start  your  film  with  shots  of  a  group  of  skiers  ad- 
justing their  equipment  in  preparation  for  a  morning  run 
on  the  hills.  Make  sure  it's  a  morning  run,  too — you'll 
get  your  best  light.  Ask  your  skiers  to  stand  so  that  you 
get  those  pine-studded  slopes  of  the  Gatineau  Hills  for 
a  background.  And  get  closeups  of  one  or  two  of  the 
more  colorful  athletes.  Human  interest  always  adds  to 
the  best  of  scenery. 

Under  way,  keep  your  camera  busy.  Get  the  uphill 
climb  from  various  angles.  A  long  shot,  with  your  skiers 
in  the  foreground  and  the  panoramic  slope  of  the  valley 
below,  is  effective.  Later,  station  yourself  for  action  shots 
on  the  fast  tracks  through  the  pine-clad  hills,  and  wait 
for  it  to  come  to  you.  Wind  up  the  film  with  shots  of  the 


17 

dian  Gov't.  Travel  Bureau 


A  DIAGONAL  VIEWPOINT  for  a  file  of  cross  country  skiers 
offers  a  more  effective  composition  than  would  a  head-on  shot. 
The    racing    turn    at    right    must    be    follow-filmed    with    telephoto. 


group  heading  home  along  the  ski  trails.  But  get  this  shot 
rather  early,  perhaps  even  before  you're  ready  to  head  for 
home,  because  you'll  run  out  of  good  light  fairly  early  in 
the  afternoon. 

SKI   FINALS  IN   FEBRUARY 

The  Slalom  Race  might  be  the  lead  title  for  your  second 
sequence.  Nearly  every  weekend  there's  a  ski  contest  of 
some  kind  at  all  of  the  camps.  But  if  you  should  choose 
February  17  and  18  as  your  skiing  movie  dates,  you'll 
hit  on  the  granddaddy  of  them  all.  This  is  the  Dominion 
Ski  Finals,  held  on  Slalom  Hill  at  Camp  Fortune,  one 
of  Quebec's  oldest  and  most  developed  ski  areas. 

A  ski  race  is  a  pretty  hard  thing  to  get  a  movie  of. 
alone — but  it  can  be  done.  Actually,  the  best  results  are 
obtained  with  a  maximum  of  five  cameras  and  a  mini- 
mum of  three.  If  a  group  of  movie  fiends  from  your  local 
club  make  the  trip  together,  you  might  try  it  with  five. 
But  if  there  are  only  two  of  you  with  cameras — or  only 
one — you  may  still  get  a  good  movie  by  some  after-race 
faking. 

COVERING  THE  RACES 

If  you  are  alone,  get  some  pre-race  crowd  stuff  from 
halfway  up  the  hill,  and  then  station  vourself  at  the  finish 
line.  There  you  can  get  long  shots  of  the  race  in  progress; 
medium  shots  and  closeups  of  the  winner  crossing  the 
finish  line:  crowd  reactions:  the  runners-up  coming  in; 
the  winner  getting  his  cup,  and  so  on. 

After  the  race,  kidnap  the  first,  second  and  third  place 
winners  and  go  back  with  them  for  repeats  of  the  take-off. 
Then,  if  you  can  persuade  your  skiers  to  keep  on  playing, 
have  them  run  through  the  race  at  intervals.  Station  your- 
self at  the  first  turn  for  Number  One.  Get  a  shot  of  him 
coming  towards  you,  passing  vou  and  roaring  away. 
Then,  station  yourself  farther  along  the  course,  and  yell 
for  Number  Two  skier  to  come  in.  Number  Three  can  be 
photographed  at  still  another  part  of  the  course.  When 
edited  together  with  your  long  shots  of  the  race  in  prog- 
ress, and  your  authentic  finish,  it  should  make  a  pretty 
good  film. 

Incidentally.  I  find  that  a  few  staged  closeups  are  in- 
valuable in  editing  a  faked  movie  or  even  a  genuine  one. 
Shots  of  skis  whizzing  through  the  powdery  snow,  or  a 
pole  being  plunged  in  are  mightv  handy  things  to  cut  to, 
for  a  moment,  to  bridge  an  awkward  time  lapse  or  scene 
break. 


GROUP  COVERAGE  BEST 

If  you  have  a  maximum  of  five  cameras,  you  can  really 
do  yourself  a  job.  I'd  recommend  spotting  one  camera- 
man at  the  take-off  point,  with  an  experienced  local  ski 
authority  at  his  elbow.  He  will  have  a  pretty  good  idea 
which  skiers  are  likely  to  come  in  as  winners,  and  thus 
which  ones  are  worth  a  starting  sequence.  It  isn't  a  fool- 
proof method,  of  course.  A  dark  horse  winner  may  come 
in.  But  in  that  case,  you'll  just  have  to  get  along  without 
a  shot  of  the  winner  starting  the  race,  or  have  him  run 
through  an  additional  take-off  for  the  camera,  after  the 
race  is  over. 

Have  two  cameras  stationed  at  the  turn  where  you're 
most  likely  to  get  spills  and  chills.  The  first  camera  will 
take  the  long  and  medium  shots,  and  the  other  camera, 
using  a  telephoto  lens,  will  grab  the  closeups.  When  edited, 
this  should  give  you  a  good  action-packed  middle. 

Your  final  pair  of  cameras  are  stationed,  of  course,  at 
the  finish  line.  One  will  get  the  long  and  medium  shots 
as  the  skiers  come  into  the  homestretch.  The  other,  with 
a  telephoto  lens,  will  get  closeups  of  the  winners  crossing 
the  finish  line. 

That's  the  skeleton  of  your  ski  story,  at  Gatineau  or 
elsewhere.  You  can  add  to  the  plan  yourself.  So  visit  the 
ski  slopes  this  winter.  There's  good  sport  and  good  filming. 


F*  1  * 


&**,' 


W    * 


<Vfti 


»    » 


COVERED    IN    COLOR,    even   winter's  frequently   overcast   lighting 
seems    effective    on    the    fast    action    of    the    slalom    competition. 


. . .  of  fine 


THERE'S  a  camera  for  everyone  in  this  well-rounded  line-up  of  Kodak  movie  equip- 
ment. Everything  from  an  "Economy  Eight,"  that's  an  ideal  camera  for  movie  newcomers 
— remarkably  convenient  to  use  .  .  .  and  outstandingly  economical  in  price  and  operation 
— to  the  superb  Cine-Kodak  Special  II  Camera,  justly  the  top-choice  camera  of  the  movie 
experts.  They're  shown  here  not  only  to  help  you  select  a  camera  for  your  own  use,  should 
your  movie  ambitions  be  outrunning  the  capacity  of  your  present  equipment .  .  .  but  to 
assist  you  in  advising  friends  of  yours  who  are  considering  making  a  start  in  this  fasci- 
nating hobby. 

You'll  also  find  details  about  Kodak's  projector  line-up — two  fine  "Eights"  .  . .  and 
two  fine  "Sixteens"  ...  in  a  range  of  prices  and  capacity  to  suit  nearly  everyone's  pocket- 
book,  nearly  everyone's  movie  ambitions. 

Look  them  over  here  .  .  .  and  even  better,  plan  to  examine  them  in  detail  next  time 
you're  at  your  Kodak  dealer's. 


Cine-Kodak  Reliant  Camera  A  fine  "Eight"  for  low-cost  movie  making.  In- 
doors or  out,  it  makes  excellent  movies  in  full  color  or  black-and-white.  For 
the  new  movie  fan,  the  fjl.l  model  (1)  is  ideal.  The  prefocused  lens  is  set  at 
the  factory  to  capture  all  subjects  beyond  a  few  feet,  sharp  and  clear.  With  its 
faster,  focusing  lens,  the//1.9  model  (2)  allows  picture  taking  under  more  ad- 
verse light  conditions,  and  as  close  as  12  inches.  Both  "Reliants"  feature 
sprocketless  loading,  permit  slow-motion  movies,  and  take  an  accessory  tele- 
photo.  Prices,  including  Federal  Tax,//2.7  model,  $79;  //1.9  model,  $97.50. 

Cine-Kodak  [Magazine  8  Camera  Now  there's  an  economy  model  of  the 
popular  "Magazine  8"  Camera — modestly  priced,  but  retaining  much  of  the 
range  .  .  .  and  all  of  the  convenience  of  the  more  versatile  standard  model. 
Both  feature  handy  magazine  loading,  built-in  exposure  guides,  slow  motion 
.  .  .  both  accept  telephotos  and  other  precise  movie  accessories.  The  new 
model  (3)  with  prefocused  //2.7  lens,  $127-50  .  .  .  the  senior  model  (4)  with 
focusing //l. 9  lens,  $147.50.  Prices  include  Federal  Tax. 


Cine-Kodak  Royal  Magazine  Camera  Outstanding  among  16mm.  cameras, 
the  new  "Royal"  (5)  teams  personal  movies'  two  top  features — the  optical  ex- 
cellence of  an  Ektar  Lens  .  .  .  the  matchless  convenience  of  magazine  loading. 
Thanks  to  its  superb  lens,  "Royal"  movies  are  so  sharply  detailed,  so  crisply 
defined,  they're  suitable  not  only  for  home  shows  but  for  auditorium  screenings 
up  to  10  or  12  feet  wide.  Other  important  features — single-frame  release,  built-in 
exposure  guide,  slow  motion,  enclosed  finder  adjustable  for  any  of  eleven  ac- 
cessory lenses.  Price,  including  Federal  Tax,  $192.50. 


Cine-Kodak  Special  II  Camera  It's  far  and  away  the  world's  most  versatile 
16mm.  motion-picture  camera — goal  of  the  experts  in  every  field  served  by 
16mm.  movies.  All  controls  for  fades,  dissolves,  mask  shots,  animated  movies, 
photomontages,  and  other  effects  are  built  right  into  the  camera  itself.  It  has 
two  finder  systems,  an  adjustable-opening  shutter,  an  interference-free  turret, 
choice  of  interchangeable  100-  or  200-foot  film  chambers,  and  either  of  two 
superb  Kodak  Cine  Ektar  Lenses:  //1.9  or  //1.4.  The  "Special  II"  (6)  is  priced 
from  $898.50,  including  Federal  Tax. 

Kodascope  Eight-33  Projector  Kodak's  most  popular  projector  (8)  for 
8mm.  movies.  Operation  is  extremely  simple,  and  its  //2  Lumenized  lens  and 
500-watt  lamp  provide  amazingly  sharp  pictures  3  feet  wide  at  average  projec- 
tion distance.  Now  a  bigger  buy  than  ever  at  only  $65. 


uipment  by  KODAK 


Kodascope  Eight- 7  1  A  Projector  A  perfect  companion  for  a  fine  8mm.  camera, 
the  "Eight-71A"  (9)  teams  a  fast  //1.6  Lumenized  lens  and  a  brilliant  750- 
watt  lamp  for  remarkably  bright,  sharp  pictures.  For  extra-large  or  extra- 
brilliant  movies,  a  1000-watt  accessory  lamp  can  be  used.  Uninterrupted  half- 
hour  shows  from  400-foot  reels.  With  automatic  rewind,  priced  at  $97-50. 

Kodascope  Sixteen- 10  Projector  Noted  for  its  big,  bright  pictures,  this  pro- 
jector(10)has  a  2-inch //l. 6  Lumenized  lens  and  750-watt  lamp.  In  addition,  it 
takes  any  of  four  accessory  lamps  (300  to  1000  watts)  and  any  of  four  accessory 
lenses — focal  lengths  from  1  to  4  inches.  It  offers  splendid  16mm.  movie  projec- 
tion for  almost  any  audience.  Priced  at  $135.  (Kodascope  Sixteen-IOR  Projector 
— same  basic  machine  but  equipped  with  remote  reversing  switch — $185.) 


Prices  subject  to  change  without 
notice.  Consult  your  dealer. 


Kodascope  Pageant  Sound  Projector  Newest  Kodak  creation,  finest  16mm. 
sound  projector  in  the  moderate  price  range.  Compact,  easy  to  carry,  complete 
in  one  case — the  "Pageant"  (7)  combines  pictures  of  outstanding  brilliance 
with  splendid  sound  amplification.  Has  a  2-inch  //l. 6  Kodak  Projection  Ekta- 
non  Lumenized  Lens,  including  field  flattener.  Uses  a  750-watt  lamp  (with 
1000-watt  lamp  optional  on  AC).  Perfect  tone  reproduction  on  AC  or  DC  from 
all  types  of  16mm.  film  because  of  Kodak's  exclusive  built-in  Fidelity  Control 
and  the  8-inch  permanent  magnet  speaker.  No  lubrication  needed,  ever!  Comes 
with  1600-foot  reel  .  .  .  takes  all  16mm.  reels  through  2000-foot  size.  Price,  $375- 


EASTMAN    KODAK    COMPANY 

ROCHESTER  4,  N.  Y. 


TRADE-MA 


'eett/ze 


. . .  of  fine  movifquipment  by  KODAK 


THERE'S  a  camera  for  everyone  in  this  well-rounded  line-up  of  Kodak  movie  equip- 
ment. Everything  from  an  "Economy  Eight,"  that's  an  ideal  camera  for  movie  newcomers 
— remarkably  convenient  to  use  .  .  .  and  outstandingly  economical  in  price  and  operation 
— to  the  superb  Cine-Kodak  Special  II  Camera,  justly  the  top-choice  camera  of  the  movie 
experts.  They're  shown  here  not  only  to  help  you  select  a  camera  for  your  own  use,  should 
your  movie  ambitions  be  outrunning  the  capacity  of  your  present  equipment .  .  .  but  to 
assist  you  in  advising  friends  of  yours  who  are  considering  making  a  start  in  this  fasci- 
nating hobby. 

You'll  also  find  details  about  Kodak's  projector  line-up — two  fine  "Eights"  . . .  and 
two  fine  "Sixteens"  ...  in  a  range  of  prices  and  capacity  to  suit  nearly  everyone's  pocket- 
book,  nearly  everyone's  movie  ambitions. 

Look  them  over  here .  .  .  and  even  better,  plan  to  examine  them  in  detail  next  time 
you're  at  your  Kodak  dealer's. 


Prices  subject  to  change  without 
notice.  Consult  your  dealer. 


EASTMAN    KODAK    COMPANY 

ROCHESTER  4,  N.  Y. 


Cine-Kodak  Reliant  Camera  A  line  "Eight"  tor  tow-cost  nun  ie  making  In- 
doors or  out,  it  makes  excellent  movies  in  lull  color  or  bl.ick-.ind -white.  For 
the  new  movie  fan,  the  //2.7  model  (1)  is  ideal.  The  prefocused  lens  is  set  at 
the  factory  to  capture  all  subjects  beyond  a  lew  feet,  sharp  and  clear.  With  its 
faster,  focusing  lens,  the //1. 9  model  (2)  allows  picture  taking  under  more  ad- 
verse light  conditions,  and  as  close  as  12  inches.  Both  "Relianrs"  feature 
sprocketless  loading,  permit  slow-motion  movies,  and  take  an  accessor)  tele- 
photo.  Prices,  including  Federal  Tax,//2.7  model,  $79;  //1.9  model,  $97.50. 

Cine-Kodak  [Magazine  8  Camera  Now  there's  an  economy  model  of  the 
popular  "Magazine  8"  Camera — modestly  priced,  hut  retaining  much  of  the 
range  .  .  .  and  all  of  the  convenience  of  the  more  versatile  standard  model 
Both  feature  handy  magazine  loading,  built-in  exposure  guides,  slow  motion 
.  .  .  both  accept  telephotos  and  other  precise  movie  accessories.  The  new 
model  (3)  with  prefocused  //2.7  lens,  $127. 50  .  .  .  the  senior  model  (4)  with 
focusing //l. 9  lens,  $147-50.  Prices  include  Federal  Tax. 

Cine-Kodak  Royai  Magazine  Camera  Outstanding  among  16mm.  cameras, 
the  new  "Royal"  (5)  teams  personal  movies'  two  top  features—the  optical  ex- 
cellence of  an  Ektar  Lens  .  .  .  the  matchless  convenience  of  magazine  loading. 
Thanks  to  its  superb  lens,  "Royal"  movies  are  so  sharply  detailed,  so  crisply 
defined,  they're  suitable  not  only  for  home  shows  but  for  auditorium  screenings 
up  to  10  or  12  feet  wide.  Other  important  features— single-frame  release,  huih-in 
exposure  guide,  slow  motion,  enclosed  tinder  adjustable  for  any  of  eleven  ac- 
cessory lenses.  Price,  including  Federal  Tax,  $192.50. 


It's  far  and  away  the  world's  most  versatile 
-goal  of  the  experts  in  every  field  served  by 


Cine-Kodak  Special  II  Corner 

16mm.  motion-picture  camera- 
16mm.  movies.  All  controls  for  fades,  dissolves,  mask  shots,  animated  movies, 
photomontages,  and  other  effects  are  built  right  into  the  camera  itself.  It  has 
two  finder  systems,  an  adjustable-opening  shutter,  an  interference-free  turret, 
choice  of  interchangeable  100-  or  200-foot  film  chambers,  and  either  of  two 
superb  Kodak  Cine  Ektar  Lenses;  //1.9  or  //1.4.  The  "Special  II"  (6)  is  priced 
from  $898.50,  including  Federal  Tax. 

Kodascope  Elght-33  Projector  Kodak's  most  popular  projector  (8)  for 
8mm.  movies.  Operation  is  extremely  simple,  and  its  //2  Lumenized  lens  and 
500-watt  lamp  provide  amazingly  sharp  pictures  3  feet  wide  at  average  projec- 
tion distance.  Now  a  bigger  buy  than  ever  at  only  $65. 

Kodascope  Elght-71A  Projector  A  perfect  companion  for  a  tine  8mm.  camera, 
the  "Eight-71A"  (9)  teams  a  fast  ff  1.6  Lumenized  lens  and  a  brilliant  750- 
watt  lamp  for  remarkably  bright,  sharp  pictures.  For  extra-large  or  extra- 
brilliant  movies,  a  1000-watt  accessory  lamp  can  be  used.  Uninterrupted  half- 
hour  shows  from  400-foot  reels.  With  automatic  rewind,  priced  at  $97-50. 

Kodaicope  Slxteen-lO  Projector  Noted  for  its  big,  bright  pictures,  tins  pro- 
jector(10)has  a  2-inch  //l. 6  Lumenized  lens  and  750-watt  lamp.  In  additiou.it 
takes  any  of  four  accessory  lamps  (300  to  1000  watts)  and  any  of  four  accessory 
lenses— focal  lengths  from  1  to  4  inches.  It  offers  splendid  16mm.  movie  projec- 
tion for  almost  any  audience.  Priced  ar  $135  (Kodascope  Sixteen-IOR  Projei  EOl 
—same  basic  machine  but  equipped  with  remote  reversing  switch— $185.) 

Kodaicope  Pageant  Sound  Projector  Newest  Kodak  creation,  finest  16mm. 
sound  projector  in  the  moderate  price  range.  Compact,  easy  to  carry,  complete 
in  one  case — the  "Pageant"  (7)  combines  pictures  of  outstanding  brilliance 
with  splendid  sound  amplification.  Has  a  2-inch  //l  6  Kodak  Projection  Ekta- 
non  Lumenized  Lens,  including  field  flattener.  Uses  a  750-v.. irt  lamp  (with 
1000-watt  lamp  optional  on  AC).  Perfect  tone  reproduction  on  AC  or  I  ><  from 
all  types  of  16mm.  film  because  of  Kodak's  cxilusive  built-in  Fidelit)  (  ontrol 
and  the  8-inch  permanent  magnet  speaker.  No  lubrication  needed,  everl  « lomea 
with  1600-foot  reel . .  .  takes  all  16mm.  reels  through  2000-foot  size.  Price.  $375. 


20 


The   Clinic 


FRAME   COUNTER   FOR   SPECIAL 

I  have  always  read  every  article 
in  Movie  Makers  by  Al  Morton, 
FACL,  and  have  enjoyed  them  very 
much.  However,  I  differ  with  him 
over  his  last  article  on  the  fader  he 
designed  for  his  Special  (see  A  Fad- 
ing Control  for  the  Cine  Special,  Feb., 
1950 — Ed.).  He  still  has  to  contend 
with  the  problem  of  frame  counting. 

While  there  is,  to  be  sure,  a  frame 
counter  built  into  the  Special,  its 
dial  is  small  in  size,  recessed  into 
the  camera  wall  and  generally  diffi- 
cult to  observe.  For  exact  overlap- 
ping in  dissolves  and  for  any  kind  of 
split-screen  work,  I  think  Mr.  Mor- 
ton will  agree  that  a  more  readily 
visible   counter   is   desirable. 

The  illustration  on  this  page  will 
make  the  general  design  of  my  frame 
counter  clear.  It  consists  of  a  21/4 
inch  disc,  mounted  around  the  motor 
drive  shaft,  which  has  been  calibra- 
ted with  40  equally  spaced  markings; 
these,  of  course,  represent  the  40 
frames  in  a  foot  of  16mm.  film, 
which  is  the  amount  passed  during 
one  revolution  of  the  shaft.  Secured 
to  the  end  of  the  drive  shaft  with  a 
3/48  machine  screw  is  a  pointer,  % 
inch  in  diameter  and  1  inch  in 
length,  which  revolves  around  the 
disc,  scanning  it  frame  by  frame. 
The  only  other  addition  necessary  is 


a  new  back-winding  key.  The  one  at 
which  I  am  pointing  has  a  1  inch 
long  shank  so  that  it  will  clear  the 
frame   counter   installation. 

I  have  been  using  this  device  for 
nearly  four  years  and  with  it  can  hit 
lap  dissolves  and  the  like  right  on 
the  frame.  While  it  must  be  removed 
momentarily  when  the  camera  spring 
is  rewound,  the  38  foot  film  run  of 
the  Special  makes  this  unimportant.  I 
recommend  the  system  to  Al  Morton 
and  all  other  critical  users  of  the 
Cine-Kodak  Special. 

A.  Theo  Roth,  ACL 
San  Francisco,  Calif. 

Mr.  Roth's  ingenious  frame  counting 
system  echoes  (but  apparently  antedates) 
a  similar  one  worked  out  by  Arthur  A. 
Merrill  for  the  Filmo  70-D  and  reported  on 
in  The  Clinic,  June,  1950.  With  this  latter 
camera,  the  film  winding  handle  itself 
was  used  as  the  pointer,  since  it  revolves 
on  the  shaft  when  in  the  "out"  position. 
An  easy  adaptation  of  this  idea  should 
be  open  to  any  movie  maker  on  whose 
camera  the  motor  shaft  is  exposed.  The 
thing  is  to  determine  how  many  frames  it 
passes  in   one   revolution. 

SLIDES  WITH   MOVIES 

I  sure  enjoyed  tlut  interesting  and 
attractive  article.  Slide  Showmanship, 
by  Victor  Ancona,  ACL,  in  the  No- 
vember issue  of  Movie  Makers.  Per- 
haps others  among  our  readers  will 
be     interested     in     how     I     combine 


Pictures,  plans  and  ideas  to 
solve  your  filming  problems 

slides    and    movies    in    my    current 
shows. 

The  setup  is  all  on  one  long  table: 
the  movie  projector  on  the  right,  the 
slide  projector  on  the  left,  and  dou- 
ble turntables  in  between.  Simple 
enough;  but  here  are  the  two  twists 
which  make  it  work  smoothly.  (1) 
So  that  the  35mm.  slide  projector 
will  match  the  screen  size  of  the 
16mm.  movie  projector  from  the 
same  operating  position,  it  is  neces- 
sary to  change  the  focal  length  of 
the  lens  on  the  slide  unit.  I  found  that 
a  7  inch  objective  was  just  right  on 
my  Gold-E  projector.  (2)  To  create 
an  uninterrupted  pattern  of  pictures 
— still  or  movie — on  the  screen,  I 
fed  the  power  lines  of  both  projectors 
through  a  Viewlex  Lite-O-Stat  plug. 
This  unit,  familiar  in  principle,  pass- 
es current  to  the  movie  projector 
when  it  is  turned  on,  switches  the 
power  to  the  slide  projector  when  the 
movies  are  turned  off.  Music  and 
narrative  through  the  turntables  are 
used  as  needed  with  both. 

Hugh  Moad,  ACL 
Kansas  City,  Mo. 

POCKET   CAMERA   TRIANGLE 

As  far  as  I  have  seen,  my  design 
of  a  camera  triangle  is  the  simplest, 
cheapest  and  lightest  in  the  field  of 
amateur  filming.  It  may  appeal  to 
those  wishing  to  use  this  important 
accessory,  but  who  have  been  unwill- 
ing to  carry  around  a  big  heavy  unit. 

Take  three  strips  of  strong  canvas 
tape,  1%  inches  or  more  wide  and 
of  a  length  which  will  be  handy  to 
your  tripod  usage.  Sew  one  end  of 
each  tape  around  a  central  metal 
ring,  and  space  three  or  four  metal- 
grommeted  holes  in  their  outward 
[Continued  on  page  33] 


FRAME  COUNTER  FOR  CINE  SPECIAL,  large  of  dial  and  easily  read,  is  demonstrated 
by  A.  Theo  Roth,  ACL.  Dial  has  40  spaces  for  number  of  frames  in  16mm.  film  foot. 


CONTRIBUTORS  TO 

The  Clinic  are  paid  from  $2.00  to  $5.00 
for   ideas   and   illustrations   published. 

Your  contributions  are  cordially  in- 
vited. Address  them  to:  The  Clinic, 
Movie  Makers.  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


Please    do    not    submit    identical    items    to 
other    magazines. 


21 


16mm.    scenes    by   William   A.    Thomas,   ACL 


"WHETHER    it's    fishing    in    pond    or    bowl,    it's    catching    the    fish    that 
is    my    goal."    So    runs    the    narrative    during    the    goldfish    sequence, 


which   ends  with   an   empty   bowl.   Scene  at  right  was  accompanied   by: 
"That  gentle  hand  which  strokes  my  head,   I   bit  it  once  until  it  bled." 


STARRING  MISS   KITTY 

Patience,  a  pet  and  plenty  of  film  are  the  prime  ingredients  in 

picturing  your  cat.  But  it's  worth  it,  says  this  Ten  Best  winner 


WILLIAM    A.    THOMAS,    ACL 


M 


Y  daughter  Kathryn  came  running  up  the  front 
steps,  tears  in  her  eyes  and  a  bundle  of  fur  in  her 
arms.  "Mother,"'  she  cried,  "you've  got  to  help 
me!  Some  boys  were  teasing  this  poor  stray  kitten." 
Olive,  of  course,  was  going  to  be  firm;  she  knew  about 
cats  from  'way  back. 

"You  can't  keep  that  cat,"  she  said.  Then,  relenting 
a  little  after  a  quick  glance  at  the  scared  and  helpless 
kitten,  she  added:  "Well,  perhaps  you'd  better  feed  it  and 
keep  it  till  tomorrow.  But  then  we  find  a  home  for  it." 

Then,  of  course,  never  came.  As  the  tomorrows  passed, 
wise  little  Kathryn  silenced  all  protests  with:  "Yes, 
Mother :  I  know  that  we  can't  keep  Miss  Kitty.  But  please 
let  her  stay  just  one  more  night."  All  too  soon  the  kitten 
had  purred  her  way  into  our  hearts,  and  we  found  our- 
selves the  willing  victims  of  the  naughtiest  cat  that  ever 
lived. 

So-o,  we  decided  to  capitalize  on  her  naughtiness  and 
make  Miss  Kitty  a  movie  star.  She  showed,  to  be  sure, 
only  one  similarity  to  more  orthodox  actresses — she  per- 
formed best  when  well  fed.  Then  there  was  that  tendency 
toward  temperament,  a  trait  which  soon  led  us  to  believe 
that  our  furry  feline  was  at  least  the  familiar — if  not  the 
reincarnation — of  some  ancient  witch.  It  was  from  this 
feeling  that  our  theme,  The  Witch  Cat,  was  born. 

We  knew,  of  course,  that  cats  (unlike  dogs)  have  little 


desire  to  please  their  masters.  While  we  admired  this 
proud  spirit  of  independence,  we  soon  found  that  it  was 
not  a  trait  designed  to  facilitate  film  production.  There 
was,  for  example,  the  scene  in  which  Miss  Kitty  was  sup- 
posed to  come  out  of  a  paper  bag  head  first.  It  was  an 
unnatural  action,  and  the  cat  immediately  recognized  it 
as  such.  Having  gone  in  the  bag  head  first,  she  consistently 
backed  out  again  tail  first.  Q.E.D.,  she  seemed  to  say. 
Nothing  to  it.  And,  in  the  end.  there  was  nothing  to  that 
scene  either — except  a  lot  of  wasted  film. 

And  so  we  learned  early  a  lesson  we  should  have  known 
all  along.  Ask  of  your  furry  friend  only  those  actions 
which  she  likes  to  perform — or  can  be  induced  to  per- 
form through  acceptable  trickery.  The  majority  of  our 
most  effective  sequences  were  obtained  in  this  way.  For 
example,  one  of  the  favorite  pastimes  of  our  bewitched 
kitten  was  chewing  oh  lead  pencils.  However,  to  be  sure 
that  she  would  chew  them  when  the  camera  was  running, 
we  rubbed  them  liberally  with  horse  meat.  Miss  Kitty 
was  tricked  also  into  licking  her  mistress's  face  affection- 
ately. But  since  Olive  objected  to  being  rubbed  with  horse 
meat,  we  created  surefire  cat  appeal  by  greasing  her  face 
with  butter. 

There  were  many  antic  maneuvers,  however,  toward 
which  our  kitten  needed  no  prompting.  A  bouquet  of  cut 
flowers  was  an  immediate  chal-  [Continued  on  page  26] 


EXTREME  CLOSEUP,  shot  with  a  2V2  inch  telephoto,  took  four  hours  of 
filming,  used   TOO  feet  of  film  and   now  runs  45  seconds.  The  unwanted 


milk  was   spiked   with   ammonia    to   assure   that  the    cat   would    spurn    it, 
while    butter    on    the    face    of    Mrs.    Thomas    was    the    tempter    in    finale. 


22 


SAN   XAVIER  MISSION,   300  years  old   but  still   in   good   repair, 
is    one    of    Tucson's    architectural    show    spots.    A    p.m.    exposure. 


346  days  of  sunshine  call  your  camera  to 
this  region  of  color,  cacti  and  dude  ranches 


Photographs  from  Western  Ways  by  Charles  W.  Herbert, 
Naurice  Koonce,  Ray  Manley  and  Kenneth  McVey 


THE    SAGUARO    CACTI,    giants    of  the    southern    desert    scene, 
offer  excellent  framing  for  your  sequence  of  dude  ranch   riding. 


WELCOME 

TO  TUCSON 


MARJORIE    RIDDELL 

TUCSON,  Arizona,  is  becoming  more  and  more  popular 
with  movie  makers  searching  for  a  new  world  to 
conquer.  Within  the  city  and  in  the  surrounding  area 
there  are  settings  and  activities  unequaled  in  variety, 
beauty  and  interest.  Even  the  weather  is  ideal,  especially 
for  color.  The  Sunshine  Climate  Club  boasts  sunshine  on 
an  average  of  more  than  346  days  a  year  and  nearly 
eleven  hours  every  day.  The  bell-clear  atmosphere  fre- 
quently induces  the  catalog  photographers  of  big  mail 
order  companies  in  the  East  to  pack  their  models  under 
one  arm,  their  cameras  under  the  other  and  hop  a  plane 
to  land  on  the  Arizona  desert  for  the  duration  of  the 
winter  months.  This  section  is  also  used  frequently  by 
Hollywood  production  units  for  a  wide  variety  of  locations. 

ADVICE  FROM  THE  EXPERTS 
When  you  go  to  a  new  area  to  do  some  shooting,  it's 
a  good  idea  to  contact  an  old  timer  (professional  or 
amateur)  and  get  some  tips  from  him.  I  was  lucky  to  find 
Charles  W.  Herbert,  ASC,  a  professional  cameraman  of 
twenty  years  experience  with  Fox  Movietone,  March  of 
Time  and  Universal  Newsreel.  Herbert  is  now  head  of 
Western  Ways  in  Tucson,  an  all  around  photographic 
plant  covering  this  area.  Here  are  some  of  the  many  tips 
he  gave  me,  which  I  pass  on  for  your  guidance  when  you 
come  a'filming  around  Tucson. 

ESTABLISH  THE  SETTING 

Perhaps  you'd  like  to  fade  in  with  a  general  view  look- 
ing down  on  the  city.  A  good  spot  is  not  hard  to  find.  "A" 
Mountain  pokes  its  head  up  to  the  southwest,  just  two 
miles  from  downtown  Tucson.  It's  identifying  "A"  is 
re-whitewashed  every  year  by  long-suffering  freshmen  at 
the  Lniversity  of  Arizona.  A  good  road  spirals  upward  to 
the  top  of  the  mountain  and  from  there  you  can  get  a 
satisfactory  view  of  the  whole  city. 

FILMING  THE   DESERT 

Outside,  Tucson  sprawls  like  an  adolescent  youngster, 
with  some  of  its  most  interesting  aspects  lying  at  the 
farthest  extremities.  There  are  miles  and  miles  of  desert 
in  warm,  sandy  hues,  rugged  mountains,  rolling  foothills 
— all  canopied  with  dazzling  clouds  and  azure  skies.  Cacti 
of  every  kind  polka-dot  the  landscape — huge  ones,  dainty 
ones,  beautiful  and  grotesque  ones.  And  if  you're  in 
Tucson  in  the  spring,  when  all  the  cacti  and  wild  flowers 
carpet  the  desert  in  a  riot  of  color,  you'll  have  an  oppor- 
tunity to  shoot  some  really  breath-taking  scenes. 

I  picked  up  some  valuable  rules  for  capturing  all  this 
beauty  on  Kodachrome  from  Ray  Manley.  He  told  me 
that  the  best  pictures  are  always  made  in  the  morning 
and  afternoons,  when  long  shadows  give  depth  to  the 
otherwise  flat  desert.  He  also  warned  to  be  a  stickler  for 
that  light-meter  reading.  The  altitude  and  brilliance  of 
light  will  fool  many  a  stranger  to  this  region. 

One  "must"  on  your  list  of  attractions  is  the  Saguaro 
National  Monument.  It  is  a  whole  forest  of  Saguaros  or 


23 


GOOD  FOR  A  GAG  is  this  staged  scene  of  a  member  of  your 
party  perched  on  a   "prickly"  cactus.   Read  story  for  the  secret. 

Giant  Cacti,  the  granddaddy-sized  cacti  that  often  grow  to 
a  height  of  forty  feet  or  more.  You  can  get  a  good  gag 
shot  by  burning  or  cutting  off  a  few  spines  on  one  of  the 
drooping  cactus  arms  and  then  perching  on  it  a  pretty 
girl  or  a  member  of  the  family.  It  will  take  a  little  time 
and  patience,  but  the  result  will  be  well  worth  it. 

ATTRACTIVE  AGRICULTURE 
Another  interesting  sequence  can  be  shot  around  the 
town's  agriculture.  All  crops  are  nourished  by  an  elaborate 
system  of  irrigation  ditches  filled  with  water  pumped 
from  deep  in  the  ground.  Over  thirty  different  vegetables 
are  grown  besides  alfalfa,  barley,  oats,  peanuts,  fruits, 
dates  and  citrus.  You  can  make  some  good  human  interest 
shots  here  of  workers  picking  dates  or  oranges.  Don't 
forget  a  few  shots  of  some  livestock,  goats  or  turkeys, 
with  a  closeup  of  the  droopy-eared  Brahmans,  the  cattle 
from  India  that  are  especially  adapted  to  arid  areas. 

THE  MISSION  AND  THE  INDIANS 
Then  you'll  want  to  cover  San  Xavier  Mission  from  all 
angles.  It  is  one  of  the  famous  Father  Kino  chain  of  mis- 
sions. Although  it  was  built  over  300  years  ago,  it  is  still 
used  today  by  the  Papago  Indians  for  whom  it  was  built. 
It  is  a  huge  white  domed  structure  of  architectural 
beauty.  The  sun  will  be  on  the  front  of  the  building  in 
the  afternoon.  There  are  rows  of  arches,  fancy  grille 
work  and  a  cactus  garden  to  frame  your  shots. 

If  you're  lucky  you  may  get  a  picture  or  two  of  the 
Papago  Indians  who  attend  the  church,  but  thev  are  shy. 
Don  t  be  alarmed  if  you  aim  your  camera  at  a  group  only 
to  see  a  blank  space  through  your  viewfinder  as  every  last 
one  of  them  duck  behind  the  wall.  Here  again  Herbert's 
advice  was  invaluable  to  me.  "If  you  see  an  Indian  shot 
you'd  like  to  have,"  he  told  me,  "go  about  it  diplomati- 
cally. Be  discreet,  considerate  and  explain  what  vou  want 
to  do.  Keep  your  camera  out  of         [Continued  on  page  33] 


WHAT  A   LIFE!   This   sort   of  thing    is   known    as   "dude    ranching"    around 
Tucson's    20    million    dollar    industry.    But    it    sure    makes    pretty    pictures. 


RIDE   'EM,   COWBOY!   A    position    in   the   stands   near  the    incoming    chute 
is  recommended  for  cameramen  at  Tucson's  annual  Fiesta  de  los  Vaqueros. 


CAMPFIRE   SCENES,    lighted   with   flares,   are    best   filmed    when    there    is 
still    some    light    in    the    sky.    Note    masking    of    flame    behind    the    cactus. 


24 


CINE-KODAK  ROYAL,  Eastman's  latest  in  16mm.  magazine  cam- 
eras, offers  f/1.9  Ektar,  three  speeds  and  single  frame  at  $192.50. 

News  of 
the  Industry 


Up  to  the  minute  reports 
on  new  products  and 
services  in  the  movie  field 

Cine-Kodak  Royal     Kodak's  latest 

entry  in  the 
16mm.  magazine  camera  field  is  the 
Cine-Kodak  Royal — a  camera  that  com- 
bines convenient  magazine  loading  with 
a  25mm.  f/1.9  Ektar  lens,  at  a  total 
cost  of  $192.50.  The  new  model  can  be 
focused  on  subjects  from  12  inches  to 
infinity  and  features  a  single  frame 
release  and  an  enclosed  viewfmder  ad- 
justing optically  for  any  of  eleven 
accessory  lenses.  Operating  at  three 
speeds — 16,  24  or  64  frames  per  sec- 
ond— the  Royal  has  a  simplified  expo- 
sure guide  attached  to  its  side. 

Tenplus  adapter  The  entire  bat- 
tery of  Leica 
lenses  designed  for  the  Leica  range- 
finder  can  now  be  mounted  on  the 
-Cine-Kodak  Special  I,  with  the  aid  of 


fi 


TENPLUS  ADAPTER  now  permits 
use  of  all  Leica  lenses  with 
Cine-Kodak     Special     I.    $46.50. 


AMPRO  FUTURIST  8,  a   1951   release,  features 
central    controls,    reverse    projection,    stills. 


a  new  item  known  as  the  Tenplus 
adapter,  which  locks  onto  the  Cine- 
Kodak's  lens  turret  and  takes  Leica 
lenses  directly.  Either  the  reflex  finder 
of  the  Special  or  the  Tenplus  adapter's 
eye-level  finder  may  be  used  for  focus- 
ing. The  Tenplus  adapter  is  priced  at 
$46.50  and  is  available  from  the  Ten- 
plus  Company,  43-L  Garden  Drive, 
Roselle,  N.  J. 

German  cameras     A  complete 

listing,  stuffed 
with  illustrations  and  specifications,  of 
all  still  cameras  being  manufactured 
in  Western  Germany  today  is  available 
from  Willoughbys,  110  West  32nd 
Street,  New  York  1,  N.  Y.  The  book 
runs  to  157  pages  and  retails  for  85 
cents. 

Sky-Lift  stand      A  lightweight 

screen  stand  that 
converts  wall  and  ceiling  screens  to 
either  tripod  or  platform  models  has 
been  developed  by  the  Radiant  Manu- 
facturing Corporation,  Chicago,  111. 
Called  the  Sky-Lift,  it  will  handle 
screens  up  to  12  by  12  feet  in  size. 
The  screen  fabric  can  be  raised  to  a 
height  of  14  feet  by  the  rope  and  pulley 
method.  Sky-Lift  weighs  only  20  pounds 
and  may  be  folded  compactly  for  ship- 
ping and  storage. 

New  GE  prexy  Ralph  J.  Cordiner 
has  been  named 
president  of  the  General  Electric  Com- 
pany to  succeed  Charles  E.  Wilson,  re- 
cently named  chairman  of  the  new  De- 
fense Mobilization  Board.  Mr.  Cordiner 
has  been  with  General  Electric  for  24 
years. 

Hardy  film      Intended    for    picture 
taking    at    depths    of 
more  than  three  miles  beneath  the  sur- 
face of  the  earth,  and  at  temperatures 


ENLARGER-VIEWER,  new  Revere  item, 
offers  simplified  frame  enlarging  with 
home  developing  kit.  Comes  in  8  or  16. 

up  to  113  degrees  above  the  boiling 
point  of  water,  Kodak  Linagraph  Drift 
Survey  film  has  been  introduced  by  the 
Eastman  Kodak  Company  in  both 
16mm.  and  35mm.  widths. 

Used  in  a  standard  clinometer  or 
drift  survey  camera,  the  film  is  em- 
ployed in  well  drilling  operations  to 
record  instrument  readings  as  drift 
meters  and  other  devices  are  lowered 
into  the  well  to  determine  the  progress 
of  drilling  operations. 

Enlarger-Viewer     Either  8mm-  °r 

16mm.  frames 
may  now  be  enlarged,  developed  and 
printed  at  home  without  loss  of  detail 
or  cutting  rolls  of  films.  The  trick  is 
turned  by  the  new  Revere  Enlarger- 
Viewer  and  developing  kit,  which  elim- 
inates the  necessity  for  a  negative  in  ar- 
riving at  the  black  and  white  print. 
The  Enlarger-Viewer  is  so  named  be- 
cause it  may  be  used  either  as  an  en- 
larger  for  frames  or  as  a  viewer  for 
editing.  The  8mm.  version  of  the  com- 
plete kit  costs  $47.50,  while  the  16mm. 
model  is  priced  at  $49.50. 

Avant-garde  films  Three  experi- 
mental films 
by  Curtis  Harrington,  a  young  and 
searching  American  producer,  have  been 
released  by  Brandon  Films.  Inc.,  1700 
Broadway,  New  York  19,  N.  Y.  The 
films  are  Fragment  of  Seeking,  On  the 
Edlge  and  Picnic.  They  treat  of  narcis- 
sism, fruitless  escape  and  minor  middle 
class  tragedies. 

Indian  footage  Though  primarily 
intended  for  edu- 
cational purposes,  Monuments  of  the 
Moghul  Empire  in  India,  six  reels  of 
16mm.  Kodachrome,  should  interest  ar- 
chitects, historians  and  those  with  a 
general  interest  in  India's  past.  Among 
the    historic    sights    are    shots    of    the 


MOVIE    MAKERS 


25 


TEX  McCRARY  and  Jinx  Falkenburg  talk  about 
Pattern  for  Survival,  civilian  defense  film,  with 
Adm.  W.  H.  P.  Blandy,  center,  and  Milton 
Salzburg  of  Cornell  Film   Co. 

Taj-Mahal,  the  Red  Fort  and  Emperor 
Akbar's  Mausoleum.  Full  information 
is  available  from  the  distributor,  Sil- 
ver Screen  Syndicate.  5  Albert  Road, 
Allahabad,  India. 

Almanac  acquires    Exclusive 

16mm.  distri- 
bution rights  to  six  new  films  produced 
by  Films  of  the  Nations  have  been  ac- 
quired by  Almanac  Films,  Inc.,  516 
Fifth  Avenue,  New  York  City.  The  films 
are  Thorvaldsen,  Meet  the  Swedes, 
Handicrafts  of  Belgium,  Majestic  Nor- 
way, The  Dutch  Way  and  South  Africa's 
Modern  Cities. 

Zone  Grey  films  Twenty  popu- 
lar feature- 
length  Zane  Grey  16mm.  sound  pictures 
have  been  released  by  Hollywood  Film 
Enterprises.  6060  Sunset  Boulevard, 
Hollywood  28.  Calif.  The  films  feature 
such  stars  as  John  Wayne,  Gary  Coop- 
er. Alan  Ladd,  Randolph  Scott,  Rich- 
ard Arlen,  Ann  Sheridan  and  Marsha 
Hunt. 

Color  history     A  $25.ooo  gift  from 

Leopold  Godowsky 
and  Leopold  Mannes,  co-inventors  of 
Kodachrome  film,  has  made  possible 
plans  for  an  extensive  color  photog- 
raphy display  at  George  Eastman 
House,  in  Rochester,  N.  Y.  The  display 
will  be  designed  to  show  visitors  the 
meaning  of  color  and  to  explain  the 
main  attempts  that  have  been  made 
to  reproduce  colors  photographically. 
Push-button  models  and  diagrams,  as 
well  as  actual  color  photographs  and 
apparatus,  will  be  used  in  the  exhibit. 

Bendix  acquires    The    property 

and  facilities  of 
the  Victor  Animatograph  Corporation 
at  Davenport.  Iowa,  have  been  pur- 
chased by  Bendix  Aviation  Corporation. 
Bendix  plans  to  use  the  modern  fac- 
tory building  for  increased  production 
of  aircraft  instruments  and  accessories 
for  the  expanding  military  program. 
Motion  picture  projectors  and  replace- 
ment parts  will,  it  is  said,  continue  to 
be  available  from  Victor. 


Look  at  your  lighting! 

[Continued  from  page  13] 

and  is  the  only  light  not  seemingly 
originating  from  the  floor  lamp.  A  third 
spot  picks  out  the  small  table  and  its 
ornaments,  while  a  fourth  illumines  the 
right  angle  of  the  walls.  Gone  are  the 
earlier,  offending  shadows,  while  the 
one  shadow  now  clearly  seen — that  of 
the  table — seems  created  naturally  by 
light  from  the  floor  lamp. 

SPOTLIGHT  VS.   FLOOD   LIGHT 

\ou  may  have  noted  by  now  that 
many  of  the  lighting  units  mentioned 
in  this  month's  discussion  (as  well  as 
the  majority  of  those  pictured  last 
month)  have  been  of  the  spot  type.  To 
a  degree,  the  choice  of  spot  over  flood 
light  (or  vice  versa)  may  be  a  matter 
of  personal  preference  by  the  photog- 
rapher using  them.  However,  the  fol- 
lowing generalizations  can  be  made  con- 
cerning the  two  units  for  your  guidance. 

The  spotlight,  as  its  name  implies, 
delivers  a  concentrated  beam  of  light 
characterized  by  brilliance  and  inten- 
sity. Objects  illuminated  by  such  light 
are  likely,  therefore,  to  reproduce  pho- 
tographically with  noticeable  sparkle. 
Carried  to  an  extreme,  however,  this 
sparkle  may  turn  into  undesirable 
harshness,  as  is  shown  clearly  in  Figs. 
3  and  3-A. 

The  true  spotlight,  because  of  its  con- 
struction, will  of  necessity  be  higher  in 
price  and  heavier  in  weight  than  corre- 
sponding flood  units.  For  a  well  rounded 
lighting  setup,  however,  every  movie 
maker  should  look  forward  to  includ- 
ing one  or  more  spot  units — even  if 
they  are  no  more  than  the  quite  effective 
RSP-2    (built-in    spot)    lamps. 

The  flood  light  also  is  well  named. 
Used  at  its  best  in  a  metal  reflector,  the 
flood  light  spreads  across  the  scene  il- 
lumination which  is  soft  and  diffused. 
As  such,  this  lighting  is  excellent  where 
called  for  by  the  subject — as  in  scenes 
of  babies  and  small  children.  The  flood 
light  also  is  useful  (and  widely  used 
by  professionals)  in  filling  in  or  light- 
ening shadow  areas  created  by  a  pre- 
dominantly spotlighted  treatment.  Effi- 
ciently available  without  metal  reflectors 
are  the  built-in  flood  lamps,  RFL-2  and 
the  newer  375  watt  medium  beam  unit. 
This  latter  offers  a  partially  controlled 
spread  of  60  degrees,  but  cannot  be 
compared  in  spot  quality  to  the  20  de- 
gree beam  of  the  RSP-2. 

All  in  all,  perhaps  the  best  answer 
in  building  up  your  lighting  equipment 
is  to  aim  at  having  plenty  of  both — 
floods  and  spots. 

*    *    * 

THE  WORLDS  MOST  COMPLETE 

historical  photographic  collection  is  lo- 
cated at  George  Eastman  House,  the 
Rochester.  N.  Y..  memorial  to  the  man 
who   brought  photography  to  all. 


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26 


JANUARY   1951 


Starring  Miss  Kitty 

[Continued  from  page  21] 

lenge  to  yank  out  and  dismember  each 
and  every  bloom.  Potted  plants  fared 
no  better.  At  the  least  she  would  ruin 
their  looks  (and  probably  their  health) 
by  nibbling  the  leaves;  often  in  her 
enthusiasm  she  would  uproot  an  entire 
plant.  Long,  low-hanging  draperies  she 
regarded,  apparently,  as  some  form  of 
exercise  bar.  She  would  leap  happily 
up  their  length,  clawing  and  ripping 
as  she  swung  madly  from  side  to  side. 
(In  the  film  we  managed  to  stage  these 
scenes  with  simulated  curtains  made 
of  an  exactly  matching  wall  paper.) 
Lamp  cords  were  quite  clearly  designed 
to  be  batted  about.  The  fact  that  her 
claws  sometimes  caught  in  them,  bring- 
ing the  entire  lamp  crashing  to  the 
floor,  disturbed  Miss  Kitty  not  a  whit. 
And,  of  course,  our  canary  lived  in 
mortal  fear  of  ever  seeing  a  new  day, 
while  the  poor,  patient  dog  simply  had 
no  further  peace. 

In  the  light  of  these  engaging  but 
satanic  antics,  is  it  any  wonder  that 
our  continuity  cast  Miss  Kitty  as  The 
Witch  Cat?  For  quite  a  time,  to  be 
sure,  that  was  about  as  far  as  the 
theme  went — an  idea  toward  which  to 
slant  our  scenes  and  sequences.  But 
after  shooting  a  thousand  or  so  feet 
of    film,    we    began    really    to    ponder 


how  we  were  going  to  put  our  picture 
together.  It  was,  I  think,  Olive's  idea 
to  open  with  a  prelude  in  which  a 
wicked  old  broom-rider  is  seen  trans- 
ferring her  spirit  to  the  body  of  a  cat. 
In  any  case,  it  was  Olive  who  gallantly 
disguised  herself  as  the  horrid  old  hag. 
And  it  was  she,  also,  who  prepared  and 
recited  the  rhymed  couplets  of  the  nar- 
rative —  on  which  treatment  we  had 
decided  in  place  of  subtitles. 

With  this  plan  agreed  on,  we  then 
faced  the  problem  of  ending  the  pic- 
ture. Perhaps  in  deference  to  Holly- 
wood tradition,  we  toyed  with  the  pos- 
sibilities of  the  "happy  ending,"  the 
fadeout  on  the  triumph  of  good  over 
evil.  Of  course,  writing  this  into  any 
script  for  Miss  Kitty  seemed  ridicu- 
lous. But  in  time  Dame  Nature  wrote 
the  finis  for  us.  A  blessed  event  cropped 
up  in  Miss  Kitty's  life,  and,  all  un- 
witchlike.  she  murmurs  to  her  mistress 
at  the  film's  end:  "At  last  your  love 
has  won  my  heart!"  This  is  the  bunk, 
of  course.  But  fortunately  the  cat  had 
no   control   over  the   narrative   writing. 

Technically,  as  well,  we  learned  a 
few  lessons  concerning  cat  filming.  In 
general,  for  example,  we  found  that 
flood  lighting  (and  plenty  of  it)  is  the 
easiest  to  use,  since  your  actor  is  un- 
likely to  stray  out  of  it.  Our  basic 
units  were  one  No.  4  photoflood  in 
reflector  for  the  key  light;  one  No.  2 
flood  lamp  in  reflector  for  the  fill  unit, 


"he  facts  about  lens  bubbles 


PERHAPS  one  of  the  most  common 
queries  submitted  to  the  League's 
consulting  department  goes  approxi- 
mately as  follows: 

"In  examining  the  lens  on  my  new 
camera  (or  a  new  lens  purchased  for 
that  camera),  I  noticed  that  there  are 
some  tiny  bubbles  embedded  in  the 
glass.  Are  these  bubbles  going  to  affect 
the  quality  of  my  pictures?" 

Here  are  the  facts  in  the  case.  They 
are  reproduced  with  the  kind  permis- 
sion of  Kodak  News,  a  trade  publica- 
tion for  Eastman  camera  dealers. 

In  the  manufacture  of  optical  glass 
it  is  practically  impossible  to  obtain 
large  quantities  of  glass  entirely  free 
from  bubbles.  If  bubble-free  glass  were 
used  exclusively,  the  cost  of  making 
photographic  lenses  would  double  or 
even  triple  in  many  cases.  This  addi- 
tional expense  is  entirely  unjustified 
considering  how  harmless  lens  bubbles 
really  are. 

It's  a  Question  of  Light  Rays 

Briefly,  a  bubble  acts  as  a  tiny  lens 
which  diverts  a  certain  portion  of  light 
from  the  image-forming  beam.  These 
diverted  light  rays  may  fall  somewhere 
on  the  film  or  they  may  never  reach  it. 
If  these  rays  are  sufficiently  numerous 


in  relation  to  all  of  the  light  rays  pass- 
ing through  the  lens,  a  small,  dark  area 
may  appear  on  the  final  print  or  color 
transparency. 

Every  reputable  lens  is  inspected  for 
bubbles.  Each  lens  must  meet  certain 
specifications  which  limit  the  size  and 
number  of  bubbles  within  a  comfort- 
able margin  of  safety.  In  other  words, 
the  bubbles  you  see  in  a  good  lens 
could  actually  be  larger  or  more  numer- 
ous and  still  not  divert  enough  light 
to  affect  the  image  in  any  way.  As  a 
matter  of  fact,  a  bubble  1/16  of  an 
inch  in  diameter  diverts  such  a  small 
amount  of  light  that  it  amounts  to  slow- 
ing down  a  lens  which  is  1  inch  in 
diameter  by  only  1/170  of  a  stop.  Not 
enough  to  worry  about. 

Make  a  Test 

If  you  have  any  reason  to  suspect 
that  air  bubbles  in  your  lens  are  affect- 
ing the  quality  of  your  pictures,  it  is 
easy  to  make  a  convincing  and  conclu- 
sive test.  Simply  photograph  a  patch  of 
clear  blue  sky,  using  the  lens  opening 
recommended  for  the  film  used.  If  a 
small  dark  area  appears  on  the  result- 
ing picture,  you  may  have  cause  for 
complaint.  It  is  extremely  unlikely  that 
this  will  happen. 


and  occasionally  a  500  watt  spotlight 
for  effect  lighting. 

Further,  judging  by  our  experience, 
a  cat  will  pay  little  or  no  attention 
to  glaring  lights.  With  the  incredible 
contracting  powers  of  their  irises,  their 
eyes  become  almost  instantly  adapted  to 
any  level  of  illumination.  In  fact,  here's 
a  valuable  tip  for  those  of  you  desir- 
ing the  ultimate  in  eye  appeal  in  still 
pictures  of  your  pet.  Shoot  them  in  a 
semi-darkened  room,  with  flash  bulbs 
instead  of  flood.  In  this  way  their 
pupils  remain  dilated  and  fully  round, 
adding  unbelievable  beauty  to  the  eyes. 

However,  cats  are  too  contrary  to 
permit  all  your  filming  to  be  easy. 
There  was,  I  still  recall  with  anguish, 
the  night  we  attempted  the  full-frame 
closeups  of  Miss  Kitty's  head.  A  2V2 
inch  //2.7  telephoto  lens  was  used, 
which  we  attempted  to  focus  visually 
at  about  the  cat's  eyes.  But  to  create 
the  maximum  depth  of  field  (because 
of  the  telephoto),  we  moved  both  flood 
lights  in  quite  close.  Their  heat  (not 
their  glare)  made  her  pant  and  squirm 
and  jump  away  continually.  Finally,  by 
setting  a  shallow  box  (another  cat's 
delight)  up  on  a  stool,  we  were  able 
to  grab  a  few  good  shots.  But  it  took 
four  grueling  hours  and  100  feet  of 
film  to  obtain  the  scene  you  see  on  these 
pages.  It  lasts  about  forty  five  seconds 
on  the  screen. 

Altogether,  it  took  us  about  eleven 
months  (including  time  out  for  the 
blessed  event)  to  shoot  and  edit  our 
film.  Some  2100  feet  of  16mm.  Koda- 
chrome  were  cut  eventually  to  a  bare 
600.  But  you've  got  to  expect  that 
overshooting  in  pet  films,  if  you're  de- 
termined during  the  editing  to  use  only 
the  best.  Our  camera  was  a  Cine-Spe- 
cial, on  which  the  only  other  lens  be- 
sides the  telephoto  was  the  standard 
one  inch  objective.  Probably  a  wide 
angle  would  have  helped.  And,  in  pass- 
ing, we  tried  on  occasion  Daylight 
Kodachrome  exposed  under  blue-glass 
photofloods.  It  was  not  a  satisfactory 
match  with  Type  A,  especially  in  the 
flesh  tones.  Olive's,  that  is,  not  the 
cat's. 

Looking  back  now,  even  the  occa- 
sional arguments  on  "how  it  should  be 
done"  seem  like  fun.  If  you  have  a 
passion  for  movie  making  and  a  love 
for  cats,  why  not  combine  them  in 
your  next  picture?  We  did  in  The 
Witch  Cat,  and  we  have  never  regretted 
a  moment  of  it.  Especially  now,  for 
Miss  Kitty  only  recently  joined  her 
witchly  godmother  in  the  true  world 
of  the  spirits. 


MOVIE    MAKERS 


LATE  RELEASES 


Features  and  short  subjects  for  8mm.  and  16mm.  screens 


27 


pattern  for 


SURVIVAL 


A  DOCUMENTARY  FILM  THAT  DRAMATIZES 
DEFENSE  AGAINST  ATOMIC  ATTACK 


■  Lost  Canyon,  seven  reels.  16mm. 
sound,  black  and  white,  is  distributed 
by  Commonwealth  Pictures  Corpora- 
tion. 723  Seventh  Avenue.  New  York 
19,  N.  Y.  William  (Hopalong  Cassidy) 
Boyd  hurls  himself  through  another 
seven  reels  of  fast  moving  western  ac- 
tion. Co-starred  with  him  are  his  ac- 
customed sidekicks.  Andy  Clyde  and 
Jay  Kirby.  Lola  Lane  adds  the  sooth- 
ing touch  of  womanhood  to  the  border 
doings. 


g  Touchdown  Thrills  of  1950,  one  reel, 
black  and  white,  is  available  in  8mm.. 
16mm.  and  16mm.  sound  versions  from 
Official  Films.  Grand  &  Linden  Ave- 
nues, Ridgefield.  N.  J.  This  year's  foot- 
ball highlights  include  shots  from  the 
following  games:  Purdue-Xotre  Dame. 
Army-Harvard.  Kentucky-Georgia  Tech. 
Ohio  -  Northwestern.  Texas  -  Southern 
Methodist.  Princeton-Cornell  and  Okla- 
homa-Texas. Mel  Allen  does  the  narra- 
tion. The  film  is  designed  to  thrill  the 
casual  fan.  but  its  intimate  play  detail 
should  interest  the  more  hardened  fol- 
lowers of  the  game. 


•  Pattern  for  Survival,  two  reels. 
16mm.  sound,  black  and  white  and 
color,  may  be  obtained  from  Cornell 
Film  Company.  1501  Broadway,  New 
York  18,  N.  1 .  Based  on  government 
records  and  files.  Pattern  for  Survival 
describes  in  detail  the  effective  ways  in 
which  planned  civilian  defense,  aimed 
at  individuals  and  groups,  can  counter- 
act fear  and  panic  in  the  community. 
The  film  features  narration  by  William 
L.  Laurence,  science  writer  for  The 
New  York  Times  and  two-time  winner 
of  Pulitzer  Prizes. 


■  Art  Treasures  from  the  Vienna  Col- 
lections. 40  minutes.  16mm.  sound  on 
film,  color,  may  be  had  from  National 
Film  Distributors.  112  West  48th  Street, 
New  York  19.  N.  Y.  Rubens.  Rem- 
brandt. \  ermeer  and  \  elasquez  are 
among  the  painters  whose  masterpieces 
are  shown  in  this  comprehensive  foot- 
age of  the  Hapsburg  art  treasures.  The 
commentary  is  written  by  Thomas  Crav- 
en and  narrated  by  Basil  Rathbone. 
There  is  a  companion  film  on  the  Ber- 
lin collections. 


■  The  J'anishing  El,  one  reel.  16mm. 
sound,  black  and  white,  may  be  had 
directly  from  Sterling  Films.  Inc..  316 
West  57th  Street.  New  York  19.  N.  Y. 
This  footage  takes  you  on  a  brief  sight- 
seeing trip  through  New  \  ork  City, 
aboard  the  last  of  the  city's  once  great 
network  of  elevated  railways.  Among 
the  memorable  places  shown  are  the 
Brooklvn  Bridge  and  Chinatown. 


Featuring 

WILLIAM   L.   LAURENCE,  Scientific 

Writer  for  Th«  New  York  Times  -  the 

only  newspaperman  who  covered  the 

entire  Atomic  project. 

Filmed  with  the  cooperation  of  the 

Army,    the    Navy    and    the    American 

Red   Cross. 

IN  CASE  OF  ATOMIC  ATTACK... 

You    must   know   what  to    do ! 

Timely.  20-minute  film  shows 
what  to  do  if  you  get  no 
warning  •  where  to  find  shel- 
ter •  what  materials  you  need 
in  school,  factory,  office  or 
home  ■  how  to  know  when 
you  are  safe,  and  much  more 
important  information  that 
can  save  your  life. 

A  FILM  FOR  YOUNG  AND  OLD 
-  NO  SHOCKING  SCENES 

Simple  —  clear  —  every" 
scene  approved  by 
defense  authorities.  For 
civic,  industrial  and 
fraternal  groups;  for 
churches;  for  families;  a 
technique  of  defense  that 
is  desperately  important 
right  now. 

Available   in    16mm   sound 

color  and   black-and'**hiie 

Aik  for  tttis  vital  film 

at   your  film  library 

Of  write   to    Cornell    Film   Co. 

CORNELL  FILM  COMPANY 

1501   Broadway,  New  York  18,  N.  Y. 


DISTINCTIVE                          EXPERT 

TITLES    and     EDITING 

For   the    Amateur   and    Professional 

16   mm.  —  8   mm. 

Black    &    White    and    Kodachrome 

Price   list    on    request 

ST  A  H  L 

EDITING    AND    TITLING    SERVICE 
33  West  42  St.                             New  York  18,   N.  Y. 

g  Polkas,     one     reel.     16mm.     sound, 
black  and  white,  may  be  obtained  from 
the  Audio-Master  Company.  341  Madi- 
son Avenue.  New  York  17.  N.  Y.  Here 
are   several  Johann   Strauss   polkas,   as 
performed    by    the    "\  ienna    Symphony 
Orchestra  under  the  direction  of  Robert 
Stolz.  with  the  cooperation  of  the  \  ien- 
na   Staatsopera.    The   film   features   the 
prima    ballerina.    Julia    Drapel.    Other 
films  in  the  same  series  are  The  Beau- 
tiful  Blue   Danube    Waltz,    The    Gypsy 
Baron  and  The  Fledermaus  Overture. 


AGAIN! 

THE    RESPLENDENT    COLOR    RELEASE 
OF  THE   YEAR 

1951    PASADENA    TOURNA- 
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Complete    400    Foot    Editions    Only 

Silent   $60  Sound   $75 

ARTHUR    H.    HART 

CINEMATIC    DEVELOPMENTS    AND 

CINECHROME    LABORATORY 

2125  Thirty-Second  Ave.,  San  Francisco,  Calif. 
Since     1938 


WESTON     50.     TUNGSTEN     32 
8mm — 25  ft.  Double  3   (Lots  of  6'.. $1.50  ea. 

16mm — 100  ft.   (Lots  of  6) 4.00  ea. 

Wmm- Magazine — 50  ft.    (Lets  of  61  2.45  ea. 

24     Hour     Laboratory     Processing     Included 

B  S.  W   FILM   PROCESSING— ANY   BRAND 

Smm  25  ft.  Double  S — 60c; 

16mm    100    ft. — 80c:    16mm    50    f;. — 60c 

B    &    W     FILM     DUPLICATING 

13mm  to  Smm 6c  per  16mm  ft 

ionim    to    16mm 4c   per    16mm    ft. 

ARCO    MOVIE    FILMS.    INC. 
Dept.  301.  8616  Fourth  Ave..   Brooklyn  9.  N.Y. 


28 


Maxim  winner  screened  The  first  public  screen- 
ing of  the  year's  Maxim 
Memorial  Award  winner — The  Gannets,  by  Warren  A. 
Levett,  ACL,  of  West  Hartford,  Conn. — was,  traditionally, 
the  highlight  of  the  December  meeting  of  the  Hartford  Cin- 
ema Club.  The  group  was  founded  by  Hiram  Percy  Maxim, 
FACL,  in  1926,  and  has  currently  as  a  member  Percy 
Maxim  Lee,  FACL,  donor  of  the  Award  in  memory  of 
her  father. 

Other  1950  Ten  Best  winners  seen  on  the  program 
were  Circus  Time,  by  George  Merz,  ACL,  of  Clifton,  N.  J. ; 
The  Barrier,  by  Glen  H.  Turner,  ACL,  of  Springville, 
Utah,  and  Hands  Around  the  Clock,  by  William  Messner, 
ACL.  of  Teaneck,  N.  J.  All  of  the  films  were  accompanied 
by  sound  on  magnetic  wire. 

Edmund  Zacher,  ACL,  president  of  the  Hartford  Cin- 
ema Club,  presided  at  the  gathering,  with  Mrs.  Lee  pre- 
senting the  Maxim  Award  in  person  to  Mr.  Levett.  James 
W.  Moore,  ACL,  and  Don  Charbonneau,  ACL,  repre- 
sented the  Amateur  Cinema  League  at  this  gala  meeting. 

Chicago  December  meetings  of  the  South  Side  Cin- 
ema Club,  of  Chicago,  featured  Spotlight  on 
Alaska,  by  Father  Hubbard,  the  "glacier  priest,"  and  the 
annual  club  Christmas  party.  This  month's  sessions  will 
be  Members'  Night  and  another  feature  film  night.  Grace 
Hall  and  her  vacation  film  of  the  United  States  and 
Alaska,  and  a  western  travelog  by  Viola  Jelke,  will  make 
up  the  members'  program.  The  feature  film  for  the  latter 
evening  was  not  announced. 


Long  Beach  Election  of  officers  for  1951  resulted  in 
Forrest  Kellogg,  ACL,  becoming  new 
president  of  the  Long  Beach  (Calif.)  Cinema  Club.  First 
vicepresident  is  Kyle  Holmes,  with  Earl  Everley  as  sec- 
ond vicepresident.  Phyllis  Weethee  is  secretary  and  Larry 
Newberger  treasurer.  A.  Warren  Nash,  ACL,  and  Al  Lar- 
rabee,  ACL,  were  named  directors. 

The  midfall  meeting  was  devoted  to  members'  films, 


PERCY  MAXIM  LEE,  FACL,  donor  of  Maxim  Award,  gives  replica  of 
trophy  to  Warren  A.  Levett,  ACL,  1950  winner.  Edmund  Zacher,  ACL, 
left,   Hartford   president,   and   James  Moore,  ACL,   of   League,  look  on. 


The  people,  plans  and  programs  of 

amateur  movie  groups  everywhere 

as  follows:  The  Quest  for  Black  Gold,  by  Mr.  Nash; 
An  Excuse  for  Murder,  by  Jack  Lloyd;  The  Shrine  on 
Parade,  by  Mr.  Kellogg;  Behind  the  Scenes,  by  Mary 
Alice  Eubank,  and  Indian  Ceremonial  at  Gallup,  by  Fred 
Barber,  the  last  named  with  sound  on  tape. 

Philadelphia  The  December  gathering  of  the  Phila- 
delphia Cinema  Club  was  arranged  by 
members  of  the  city's  northeast  district,  with  Norman  C. 
Birks  in  charge.  The  program  included  Cruising  on  the 
Lorelei,  by  Alexander  McCalmont;  Ice  Capades  of  1951, 
by  Mr.  Birks;  Zion  and  Bryce  Canyons,  by  Belford  Neff, 
and  Bicycling  on  Cape  Cod,  by  Jesse  H.  Haines. 

Long   Island   meetings      The  Long  Island  (N.  Y.) 

Cine  Club.  ACL,  devoted  a 
midfall  meeting  to  cutting  and  editing  the  club  leader.  A 
subsequent  session  was  given  over  to  Clinic  Night,  dur- 
ing which  members'  films  were  screened  and  discussed. 
Recently  the  group  had  the  pleasure  of  seeing  three  films 
made  by  Bert  Seckendorf,  ACL,  of  Brooklyn,  who  was  on 
hand  to  present  them  personally.  The  pictures  shown 
were  Symphony  of  The  Village,  Indian  Summer  and  A 
Christmas  Story,  the  latter  produced  in  cooperation  with 
Vic  Watson. 

Oklahoma  guest  Ralph  E.  Gray.  FACL,  League 
vicepresident,  was  guest  of  honor 
at  a  reception  given  by  the  Movie  Makers  Club,  ACL,  of 
Oklahoma  City  on  a  recent  visit  to  his  home  state.  Mr. 
Gray  presented  one  of  his  Mexican  films.  Winners  of 
the  club  contest  were  also  screened. 

MMPC  winners  New  York  City's  Metropolitan 
Motion  Picture  Club,  ACL,  award- 
ed first  prize  in  its  recent  annual  contest  to  John  Caruso 
for  Crime  in-  Passion.  Othon  Goetz,  ACL,  received  sec- 
ond prize  for  From  This  Day  Forward,  while  third  place 
went  to  Terry.  Manos,  ACL,  for  Vacation  Highlights.  The 
judges  were  Frank  E.  Gunnell,  FACL,  Harry  Groedel, 
ACL,  Herman  Andresen,  Sidney  Moritz,  ACL,  Ernest  H. 
Kremer,  ACL,  John  Hefele,  ACL,  and  Ray  Moss,  ACL. 

Peoria  elects  Caesar  Dentino,  ACL,  has  been  chosen 
president  of  the  Peoria  Cinema  Club, 
Inc.,  for  1951  in  recent  balloting.  Elected  to  serve  with 
him  were  Dr.  Fred  Meixner,  vicepresident;  D.  Raleigh 
Carlton.  ACL,  continuing  as  secretary;  Paul  R.  Marshall, 
ACL.  treasurer;  Art  Nordwall,  ACL,  publicity,  and  Sam 
Trope,  ACL.  film  librarian. 

Milwaukee  winners      Joseph  Salerno  took  first  place 

in  the  8mm.  class  in  the  an- 
nual contest  of  the  Amateur  Movie  Society  of  Milwaukee, 
ACL.  The  winning  film  was  Father  Plays  Cameraman. 
Howard  Gennrich  placed  second  with  What's  Stewing?, 


MOVIE    MAKERS 


29 


and  Earl  Peychal  took  third  place  for 
Colorado  Adventure.  Runners-up  were 
1950  Chicago  Fair,  by  F.  Gitzl;  Mega- 
phone Menace,  by  Elmer  F.  Klug, 
ACL;  Dear  Joe,  by  Saverio  Salamone, 
and  Scenic  Wanderings,  by  Martha 
Rosche,  ACL.  In  the  16mm.  class  first 
place  was  awarded  to  Ray  C.  Fahren- 
berg  for  his  photoplay.  Flabbergasted. 
Second  prize  went  to  F.  L.  Kreznar. 
ACL,  for  Vacation — 7950. 

A  midfall  meeting  of  the  club  fea- 
tured the  screening  of  Red  Feather 
Parade,  club  unit  production  filmed 
for  the  Community  Chest.  Hobarth  01- 
sen  headed  the  production  unit  as  di- 
rector. He  was  assisted  by  John  Bakke. 
Joe  Salerno,  Bob  Lees,  Charles  Ferry, 
Lu  Gaedtke,  F.  Kreznar,  ACL,  Agnes 
Muehlbach,  Erma  Niedermeyer,  ACL, 
and  Mollie  Sulewsky,  ACL. 

A#  8's  Barry  Dance  became  pres- 
ident of  the  Los  Angeles 
8mm.  Club  in  the  recent  election.  Syl- 
via Higgins  was  named  vicepresident. 
with  Catherine  Guerrieri  as  secretary 
and  R.  V.  Browning,  treasurer. 

Election  night  entertainment  was  un- 
der the  charge  of  Barbara  Brookes, 
home  economist  for  Arden  Farms,  who 
gave  a  short  talk  and  presented  The 
Story  of  Milk,  produced  for  the  dairy. 


Tri-City  session 


Members  of  the 
Tri-City  Cinema 
Club  (of  Davenport,  Iowa,  and  Rock 
Island  and  Moline,  111.)  enjoyed  a  pre- 
sentation of  films  produced  by  Dr.  Al- 
bert N.  Mueller,  of  Rock  Island.  The 
pictures  were  Water,  Chicago  Fair, 
California  and  Florida.  Georgia  T. 
First,  ACL,  also  presented  a  group  of 
Kodaslides. 

St.  Louis  shows  A  late  *aU  meet- 
ing of  the  Ama- 
teur Motion  Picture  Club  of  St.  Louis 
featured  a  talk  on  lighting  by  Mr. 
Feisley,  of  General  Electric,  and  screen- 
ing of  the  company's  film,  Family  Al- 
bum. Subsequent  demonstration  ses- 
sions were  devoted  to  a  discussion  of 
color  film,  stressing  the  differences  be- 
tween Ansco  Color  and  Kodachrome. 
led  by  Norton  E.  Claypool,  of  Ansco ; 
a  showing  of  three-dimensional  color 
films  and  a  discussion  of  techniques  by 
Mr.  Bader,  a  local  photo  dealer. 

Bristol  elects  In  their  recent  elec- 
tion, members  of 
the  Bristol  (Conn.)  Cinema  Club,  ACL. 
chose  John  E.  Wilson  as  president  for 
1951.  Earle  H.  Sparks,  ACL,  will  serve 
as  membership  chairman  and  Lee  E. 
Paulmann.  ACL,  as  secretary-treasurer. 


Kansas  City  8-16 


The  8-16 
Home  Movie 
Makers,  of  Kansas  City,  Mo.,  have  re- 
elected by  unanimous  vote  John  C. 
Sherard   as   club   president;    Robert   C. 


Davis,  vicepresident:  Herman  B.  Dav- 
is, treasurer;  Virginia  Schneikart,  ex- 
ecutive secretary.  This  marks  the  fourth 
consecutive  term  for  founder-president 
Sherard. 

The  club  held  its  third  annual  16mm. 
salon  during  the  fall.  The  program  fol- 
lows: Tioo  Sons,  by  Lawrence  Conrad; 
Day  Camping,  by  John  Booz;  North 
Country  Adventure,  by  Harold  Cramer, 
ACL;  Trail  to  the  Rainbow,  by  Robert 
C.  Davis ;  Big  Thrill,  by  W.  C.  Murray, 
and  October  in  Colorado,  by  Hugh 
Moad,  ACL.  A  presentation  of  trophies 
followed  the  screening. 

Ottawa  session  A  demonstra- 
tion of  the  val- 
ue of  sound  with  films  was  presented 
at  a  recent  meeting  of  the  Ottawa  Cine 
Club  of  Canada.  Lest  Old  Arts  be  Lost, 
an  8mm.  film  by  Elizabeth  Edwards, 
was  first  projected  silently.  A  tape 
recording  was  then  prepared,  and  the 
two  synchronized  for  a  second  screen- 
ing. The  Revere  and  Ampro  tape  rec- 
orders were  exhibited  and  demonstra- 
ted in  connection  with  the  show. 

Minneapolis  Tne  Minneapolis 
Cine  Club,  ACL, 
held  a  pre-holiday  screening.  Pictures 
shown  included  Arizona,  by  C.  V.  Egek- 
vist;  South  to  Key  West,  by  Ray  Kull- 
berg;  Victory  Garden,  by  G.  W. 
Thompson,  and  an  untitled  film  on 
autumn  in  New  England  by  Jim  Brown, 
who  offered  a  prize  for  the  best  title 
suggestion.  The  club's  Christmas  party 
was  held  at  the  Women's  Club  again 
this  year.  Bob  Kleinman  was  in  charge 
of  arrangements. 

The  Minneapolis  Octo-Cine  Guild 
had  the  opportunity  to  study  the  travel 
films  of  Europe  brought  back  by  mem- 
ber Russ  Wilcox  at  a  pre-holiday  gath- 
ering. The  club's  Christmas  party  was 
held  at  Stouffer's  Restaurant.  Laurie 
Peterson  and  Austin  Frisk  headed  the 
Christmas  arrangements  committee. 

New  in  N.  J.  A  new  amateur 
movie  group  has 
been  organized  in  New  Jersey  under 
the  name  of  The  Plainfield  Cinema 
League,  ACL.  Club  president  is  Dr. 
Barney  A.  Polskin.  Joseph  De  Caro  is 
secretary-treasurer,  and  William  Wils 
serves  as  program  director. 

Filming  enthusiasts  in  and  around 
Plainfield  wishing  to  join  the  group 
should  contact  the  secretary,  Mr.  De 
Caro.  234  Martine  Avenue,  Fanwood, 
N.  J.,  or  Dr.  Polskin.  115  West  7th 
Street.  Plainfield.  Meetings  will  be  held 
on  the  first  Tuesday  of  each  month  at 
8:00  p.  m.  at  Dr.  Polskin's  address. 


Precision   Engineered  Movie  Camera  by 
Europe's  Finest  Camera  Craftsmen.' 


Valley  8mm. 


Ladies  Night  of  the 
Valley  8mm.  Club, 
of  North  Hollywood,  Calif.,  featured  a 
film  competition  for  the  club's  distaff 
side.  Top  award  went  to  Mrs.  Ed  Gar- 


EUMIG  88 


The     Only     8mm     Movie     Camera     with 

Automatic    Built-in    Exposure    Regulator! 

The  Camera  That  Thinks  for  You! 


EUMIG    88.    With 

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Popular    in    Europe    for    Years! 
Now    Available    in    the    U.S.A.! 

The  outstanding  Eumig  88  actually  prevents  incorrect 
exposure  whether  you  use  color  or  black-and-white 
film!  The  unique  built-in  coupled  photo-electric  cell 
which  controls  the  diaphragm  opening  automatically 
regulates  the  correct  exposure  required. 
In  addition,  you  will  find  other  technically  advanced 
features  to  bring  professional  picture  quality  to  your 
8mm  movies — precision  clockwork  motor  with  more  than 
average  run,  single  frame  release  for  cartoons  and 
trick  work,  continuous  run  lock  to  take  pictures  of 
yourself,  automatic  film  gate  for  simple  threading 
and  precise  frame  registration,  and  wide  range  of 
speeds  for  slow   motion  photography. 

See  the  Eumig  88  at  Your  Franchisee!  Dealer 

or  Write    Dept.    27!    for    Free    Booklet    "E" 

Exclusive  Distributor   In  The  U.  S.  A. 

CAMERA     SPECIALTY      COMPANY,     INC. — 
50  West  29th  Street  New  York  1,  N.  Y 


Two  3<  stamps  for  giant  catalogue.  State  size. 


i 


8-16mm    Silent,    Sound, 
Sales,  Rental,  Exchanges. 


REEO  &  REED  DISTRIBUTORS,  INC 
7508  3rd  AVE.,  BROOKLYN  9,  H.  Y 


HOW  TO  GET  PROFESSIONAL  MOVIE 
AND  SLIDE  TITLES  AJ  LOW  COST! 

Step  up  slide  and  movie  shows  with  professional 
Titles  .  .  .  Get  quality  that  only  20  years'  experience 
can  give  .  .  -  Same  Titles  formerly  distributed  by 
Bell  &  Howell.  Amazingly  low  prices  .  .  .  Big  selec- 
tion   of  backgrounds. 

SEND  FOR  FREE  sarxples  and  illustrated  brochure. 
TITLE-CRAFT.  Dept.  M.   1022  Argyle  St.,  Chicago  40,    III. 


VMiiunUrK 


FILM  PROTECTIVE  PROCESS 

The    SUPER 

vap  Orate 

PROTECTS  AGAINST  Scratches,  Fingermarks, 
Oil,   Water  and  Climatic  Changes. 


I 


ONE  TREATMENT 
LASTS  THE  LIFE 
OF     THE     FILM 


Brittle    Film    Rejuvenated 
IT'S    NEVER    TOO    LATE    TO    VACUUMATE 

Available   through   your   local   dealer  or  at 

VACUUMATE  CORP.,  446  W.  <13rd  St.,  New  York, 
and  in  these  principal  cities:  Detroit,  Mich.,  Wash- 
ington, D.  C,  Chicago,  III.,  San  Francisco,  Calif., 
Hollywood.  Calif..  Portland.  Ore.,  Kansas  City,  Mo., 
Raleigh,  N.  C,  Manila,  P. I..  Canada. 


30 


Classified    advert  is  i 


"§ 


■  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


■  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT   FOR  SALE 


B  BASS  SAYS :  Help  Bass  clean  house !  Some  guar- 
anteed Buys.  Charles  Bass,  President.  B.  &  H.  Sports- 
ter 8,  f/2.5  lens,  like  new,  $67.50;  B.  &  H.  Tri- 
Lens  8  Turret,  %"  f/1.9  focusing,  1%"  Tele  f/3.5, 
f/2.5  W.A.  attach.,  Comb,  case,  S167.50;  B.  &  H. 
TOD,  1"  //1.5,  2"  //3.5,  4"  f/H.5,  Comb,  case, 
$257.50:  Keystone  A-7  16mm.,  f/3.5  lens,  $37.50; 
16mm.  Cine-Kodak  Model  K,  f/1.9  lens,  $97.50; 
16mm.  Cine-Kodak  Special,  1"  f/1.9,  17mm.  W.A. 
//2.7,  2"  Tele  //2.7,  4"  Tele  //2.7,  set  of  ext. 
tubes,  Comb,  case,  $675.00;  16mm.  Zeiss  Movikon, 
Sonnar  //1.4  cpld.  R.F.,  $317.50.  Get  Bass  quotes 
first  for  cash  or  trade  deals.  BASS  CAMERA  COM- 
PANY, Dept.  CC,  179  W.  Madison  St.,  Chicago  2, 
III. 

■  SYNCHRONOUS  motors  installed,  projectors,  cam- 
eras, $150.00.  Projector  governors  16-24  speeds,  $82.50. 
16mm.  only.  M.  W.  Palmer,  468  Riverside  Drive, 
New    York. 

■  NEW  YEAR'S  SPECIALS:  Bell  &  Howell  sound 
projector,  two  cases,  excellent,  $145.00.  Diplomat 
projector,  $150.00.  Bolex  H-16,  1"  f/1.5  lens,  $195.00. 
Filmo  A,  1"  //3.5  lens,  $75.00.  Semi-professional 
tripod,  $59.50.  We  buy,  sell,  trade,  all  16-35mm. 
motion  picture  equipment.  THE  CAMERA  MART, 
Inc.,    70    West    45th    Street,    New   York. 

■  WORLDS  LARGEST  SELECTION  OF  FINE 
MOVIE  LENSES- -Guaranteed,  available  on  15  day 
trial.  In  focusing  mounts  for  8mm.  cameras:  y%' 
f/1.9  Wollensak  Raptar  (coated),  $45.70;  1%" 
//3.5  Cine  telephoto,  $34.50.  In  focusing  mounts 
coated  for  16mm.  cameras:  17mm.  //2.7  Carl  Meyer 
wide  angle,  $44.50;  2"  //2  Schneider  Xenon,  $99.50; 
3"  //2.8  Carl  Zeiss  Tessar,  $109.50.  These  are  only  a 
few  of  the  bargains  in  our  tremendous  stocks.  Write 
today  for  complete  lens  listing.  BURKE  &  JAMES, 
Inc.,  321  So.  Wabash  Ave.,  Chicago,  111.  Att :  M.  M. 
James. 


FILMS   FOR   RENTAL  OR  SALE 

9  CASTLE  films  for  sale:  8mm. -16mm.  silent  and 
sound:  comple'e  stock,  orders  shipped  day  received 
by  STANLEY-WINTHROP'S,  Inc.,  90  Washington  St., 
Quincy  69,  Mass. 

■  NATURAL  COLOR  SLIDES,  Scenics,  National 
Parks,  Cities.  Animals,  Flowers,  etc.  Sets  of  eight, 
SI. 95;  sample  &  list,  25<?.  SLIDES,  Box  206,  La 
Habra,    Calif. 

■  USED  and  new  Castle  films :  8-16.  silent  and 
sound.  Send  for  lists.  ALVES  PHOTO  SERVICE, 
Inc.,    14   Storrs   Ave.,    Braintree    84,   Mass. 

■  FREE  Movies:  Thousands  of  subjects.  Interesting. 
Entertaining.  Fascinating.  Latest  Directory — only  500. 
NATIONAL  CINE  SOCIETY,  126  Lexington  Ave., 
Dept.    102    C.    New  York   16,    N.   Y. 

■  CLEARANCE  SALE  of  16mm.  Films.  Want  a 
real  buy  in  16mm.  sound  films?  Take  advantage  of 
the  I.C.S.  1950  Clearance  Sale  of  16mm.  sound 
FEATURES:  comedies,  cartoons,  novelties,  musicals, 
new,  used.  Specify.  Send  for  our  giant  list  "A" 
today,  stating  machine  you  own  (make  and  model). 
INSTITUTIONAL  CINEMA  SERVICE,  Inc.,  1560-M 
Broadway,   New   York   19,   N.   Y. 

■  1951  ROSE  PARADE  MOVIES.  Kodachrome. 
Colorful  floats!  Beautiful  girls!  16mm.  200  ft.,  $29.95. 
8mm.  100  ft..  $14.95.  C.O.D.'s  acceptpd.  California 
add  tax.  AVELON  DAGGETT,  441  North  Orange 
Drive,    Los    Angeles   36,    Calif. 

9  THE  biggest  stock  of  16mm.  films  in  the  world — 
over  '100,000  prints  on  hand!  New  1-reel  $17.50 
16mm.  sound  films  low  as  $3.95;  new  1-reel  $8.75 
16mm.  silents,  $1.98  up.  All  first  quality  prints  in 
original  cartons.  Used  Panoram  100'  16mm.  musicals, 
$9.95  pel  dozen.  Equally  attractive  bargains  in  good 
used  feature  pictures,  cartoons,  sports,  comedies, 
travels.  Big  selection  of  used,  16mm.  sound  projectors. 
Save  on  new  and  used  reels  and  cans,  projection  lamps, 
and  other  supplies.  Write  today  for  your  copy  of 
Blackhawk's  big  catalog  10J.  "Sixteen's  Super  Mar- 
ket." BLACKHAWK  FILMS.  Inc.,  Davenport,  Iowa. 


MISCELLANEOUS 


■  KODACHROME  DUPLICATES;  8mm.,  or  16mm., 
11^  per  foot.  Immediate  service  on  mail  orders. 
HOLLYWOOD  16MM  INDUSTRIES,  Inc.,  6060  Hol- 
lywood   Blvd..    Hollywood   28,    Calif. 

B  NO  NEGATIVE  ?  ?  ?  Send  picture  or  transparency 
and  $1.00  for  new  negative  and  2  5x7  enlargements, 
CURIO-PHOTO,   1187  Jerome  Ave.,  New  York  52. 

■  SOUND  RECORDING  at  a  reasonable  cost.  High 
fidelity  16  or  35.  Quality  guaranteed.  Complete  studio 
and  laboratory  services.  Color  printing  and  lacquer 
coating.  ESCAR  MOTION  PICTURE  SERVICE,  Inc., 
7315  Carnegie  Ave.,  Cleveland  3,  Ohio.  Phone: 
Endicott    2707. 

■  TWO  4  x  5  BL.  &  W.  ENLARGEMENTS  and  nega- 
five  from  your  moviefilm.  or  one  colorprint  from 
colorfilm.  Send  frames  and  one  dollar.  CURIO- 
PHOTO,  1187  Jerome  Ave.,  New  York  52. 

■  16MM.  SOUND  movie  camera  for  rent.  Write 
ANTHONY  IOVINO,  86-01  Commingwealth  Blvd., 
Bellerose,   N.   Y. 


NEW  IMPROVED 

1  950 

MOVIE  MAKERS  BINDER 


NOW  AVAILABLE 

$3.00  each* 

'Please  add   2%   City  Sales   Tax  for 
New    York    City    delivery 

AMATEUR  CINEMA  LEAGUE,  Inc. 

420    Lexington    Avenue,   New   York   17,    N.   Y. 


WILL  THEY  FIT 
MY  CAMERA? 

Second  in  a  series  important  to 
every  amateur,  "Will  They  Fit  MY 
Camera?"  this  time  surveys  the 
entire  line  of  Kern-Paillard  lenses. 
The  article  will  tell  you  specifically 
whether  this,  that  or  the  other  lens 
may  be  used  with  your  8mm.  or 
16mm.  camera,  whether  an  adapter 
is  needed,  and  so  on. 

Don't    miss    "Will    They    Fit    MY 
Camera?"   in 

February 
MOVIE  MAKERS 


JANUARY   1951 

wood  for  her  comedy,  Breakfast  in  Bed. 
Second  prize  went  to  Mrs.  John  Fitch- 
ner,  for  Dumb  Bunny.  Laugh,  Ladies, 
Laugh,  by  Mrs.  David  Jenks,  received 
third  prize.  In  fourth  place  was  Pickled 
Peaches,  by  Mrs.  Philip  Cook. 

The  judges  were  Mrs.  Les  Williams, 
Southwest  8mm.  Club;  Mrs.  Charles 
Peters,  Los  Angeles  Cinema  Club,  and 
Mrs.  Eugenia  Elliott,  ACL,  Los  Angeles 
8mm.  Club. 

The  club  meets  on  first  Fridays  at 
historic  Campo  de  Cahuenga  Club- 
house. Interested  amateurs  may  contact 
Neva  Bourgeotte.  at  4639  Coldwater 
Canyon  Avenue,  North  Hollywood,  or 
phone  Sunset  3-2202. 

Chicago  ^he  annual  banquet  and 
installation  of  officers  of 
the  Chicago  Cinema  Club,  ACL,  was 
held  this  fall  at  the  Chicago  Bar  Asso- 
ciation building.  Charles  Lonk  accepted 
the  president's  chair.  Other  officers 
chosen  were  Mrs.  Clarence  Koch,  vice- 
president;  Mrs.  Keith  Nowell,  secre 
tary.  and  Sherman  Arpp,  treasurer. 

On  February  1  the  club  is  sponsor- 
ing its  Super  Gadget  Night,  in  which 
many  other  Chicago  clubs  will  partici- 
pate. A  "bazooka"  (36  inch  telephoto 
lens)  and  a  four-lens  turret  are  only 
two  of  the  unusual  features  to  be  ex- 
hibited. The  club  meets  in  the  Civic 
Opera  Building.  All  are  welcome  to 
attend. 

Northern  Calif.     A  new  slate  of 

officers  was  chos- 
en for  the  Northern  California  Council 
of  Amateur  Movie  Clubs,  headed  by 
Emerson  Owen  of  San  Jose  Movie  Club 
as  president.  Other  officers  are  Gordon 
Robertson,  Bay  Empire  8mm.  Movie 
Club,  ACL,  first  vicepresident ;  Joseph 
Pancoast,  ACL,  Richmond  Movie  Club, 
second  vicepresident;  Clyde  Evans, ACL, 
treasurer,  and  William  Crowell,  ACL, 
secretary,  both  of  the  Westwood  Movie 
Club. 

Schenectady  Tlie  Christmas  par- 
ty of  the  Movie 
Group.  Schenectady  (N.  Y.)  Photogra- 
phic Society,  ACL,  was  built  around 
the  1947  Ten  Best  winner.  Magic  Stair- 
way, by  Harlan  Webber,  ACL,  now 
president  of  the  society.  A  number  of 
surprise  holiday  features  also  were  on 
the  program,  as  well  as  refreshments 
in  keeping  with  the  season. 


Rockford  party 


A  festive  pro- 
gram brightened 
the  holiday  slate  for  members  of  the 
Rockford  (111.)  Movie  Makers,  ACL. 
Two  Christmas  films,  //  Santa  Claus 
Stayed  and  Christmas  Toy  Shop,  by 
Arnold  Lundgren,  were  features  of  the 
gala  program  arranged  by  Floyd  Ros- 
ene  and  Don  Anderson.  Santa  himself 
was  on  hand  to  pass  out  gifts  to  the 
children    of    members    and    those    from 


MOVIE    MAKERS 


31 


the  Rockford  Children's  Home,  who 
were  special  guests  for  the  occasion. 
Community  singing,  special  entertain- 
ment and  abundant  refreshments 
rounded  out   a   festive  night. 

Seeburg  session  A  recent  gath- 
ering of  the 
Seeburg  Camera  Club,  of  Chicago,  fea- 
tured a  screening  of  a  Shell  Oil  Com- 
pany film,  10,000  Feet  Deep,  and  an 
8mm.  Kodachrome  film  by  Al  Koch. 
A  subsequent  meeting  took  place  in 
the  home  theatre  of  club  president  J. 
H.  Boulet,  jr.,  ACL.  Members'  films 
and  slides  were  shown,  plus  a  travelog 
of  the  Canadian  Rockies  made  by  Mr. 
Boulet. 

Oak  Ridge  A  meeting  of  the  Oak 
Ridge  (Tenn.)  Cine- 
ma Club,  held  recently  at  the  Ameri- 
can Museum  of  Atomic  Energy,  fea- 
tured a  screening  of  Engineering  for 
Radioisotopes,  by  Tom  Trent,  ACL.  On 
the  same  program  were  The  Great 
Smokies  and  The  Happiest  Man  on 
Earth,  the  latter  film  based  on  an  0. 
Henry  Memorial  Award  short  story. 
The  producers'  names  of  these  two 
films  are  not  known. 

Berkeley  guest  D°n  Flagg.  pro- 
fessional filmer, 
was  an  honored  guest  at  the  Decem- 
ber meeting  of  the  Berkeley  (Calif.) 
Movie  Club.  He  gave  a  talk  on  the  pro- 
duction of  industrial  and  television 
films  and  screened  some  of  his  own 
work.  Arthur  Hart  projected  his  16mm. 
Kodachrome  film,  Solitude,  and  Dr. 
Frank  Burton,  ACL,  and  Mrs.  Burton 
showed  two  of  their  Christmas  films. 

Omaha  programs  Two  Pro- 
grams of  in- 
terest were  presented  on  the  fall  sched- 
ule of  the  Omaha  Movie  Club.  The 
films  shown  included  Trip  to  Florida, 
by  W.  R.  Tatman;  Around  Lake  Michi- 
gan, by  C.  H.  Swindler;  Trip  to  Den- 
mark, by  Jens  Jensen;  Coronation  of 
1950,  by  Mrs.  J.  G.  Kretschmer,  and 
Rocky  Mountain  National  Park,  by 
Jewel  Bockwitz,  ACL.  The  club  meets 
every  fourth  Friday  in  the  Joslyn  Mem- 
orial. 

Aussie  winners  A  record  entry 
of  thirty  one 
films,  representing  all  states  in  Australia, 
made  this  year's  Five  Best  competition, 
sponsored  by  the  Victorian  Amateur 
Cine  Society.  ACL,  one  of  the  best 
since  the  war.  The  winners  were  The 
Little  Imp,  by  R.  L.  Greenwood;  A 
Letter  to  Mary,  by  L.  Piatt  and  R.  H. 
Norgate;  Wings  Over  the  Sea,  by  W. 
D.  Burns:  Out  to  Lunch,  by  Len  Mon- 
tagu, ACL.  and  Homeward  Bound,  by 
Max  Knobel.  The  President's  Trophy 
and  the  PJP  Award  went  to  The  Little 
Imp.  The   Home   Cinemas   Award    (for 


the  best  9.5mm.  film)  was  given  Denzil 
E.  Howson  for  Village  History.  It  is  in- 
teresting to  note  that  the  three  top 
winners  were  in  black  and  white. 

Entries  for  D.  C.     The  first  of  the 

monthly  entries 
in  the  annual  contest  of  the  Washing- 
ton Society  of  Amateur  Cinematogra- 
phers  were  screened  at  a  pre-holiday 
meeting.  These  were  Day's  Journey,  by 
Philip  A.  Simpson,  ACL;  Apple  Blos- 
som Festival,  by  Elias  E.  Pederson. 
ACL;  Long  Lake  Holiday,  by  Daniel 
M.  Friedman.  ACL.  and  Flight  to  hvo 
Jima,  by  Richard  H.  Parvin,  ACL. 

Common  Mistakes  and  Their  Correc- 
tion, a  Harmon  Foundation  instruction- 
al film;  a  demonstration  of  projection 
conducted  by  Harold  Wagar.  and  a  talk 
on  editing  given  by  Major  W.  A.  Ander- 
son, ACL.  preceded  the  screening  of 
contest  entries. 

Cincinnati      The  nrst  0I  sucn  Pr0" 

jects  to  come  to  hand 
since  cessation  of  hostilities  of  World 
War  II,  the  Cincinnati  Movie  Club  is 
busy  drawing  up  plans  for  a  series  of 
civil  defense  training  films.  Planned 
as  group  productions,  the  films  are  be- 
ing made  at  the  specific  request  of  the 
city  government.  Other  film  clubs  might 
take  their  cue  from  this  and  offer  their 
services  in  like  manner  to  their  respec- 
tive communities. 

Winnipeg  program     The  Novem- 

ber  meeting 
of  the  Winnipeg  Cine  Club,  in  Canada, 
featured  a  talk  by  H.  E.  Rasmussen. 
Photographic  Lenses  and  Their  Uses. 
Lenses  actually  made  by  Mr.  Rasmus- 
sen  were  displayed. 

On  the  screen  were  Picnic  Short,  a 
film  of  the  club  outing  by  Bill  Cross, 
and  Highway  61,  a  travelog  by  Anna 
Doupe  with  sound  on  disc.  Refresh- 
ments followed  the  program,  with 
Mesdames  Gibson  and  Peterson  serying 
as  hostesses. 

Milwaukee  Tne  midfall  program 
of  the  Amateur  Movie 
Society  of  Milwaukee,  ACL,  featured  a 
showing  of  the  first  rushes  of  Red 
Feather  Parade,  club  filming  project 
produced  for  the  local  Community 
Chest.  A  technical  discussion  followed. 
Also  screened  were  Mexico  and  the 
Gaspe,  by  Al  Huennekens.  and  The 
House  on  the  Hill,  by  Selma  Preuss, 
ACL. 

An  added  attraction  was  the  showing 
of  stereo  slides  taken  by  Bill  Verburgt, 
Mibs  Rheingans,  Al  Wudke  and  Mr. 
and  Mrs.  Sonnemann. 

AACC  The  Associated  Amateur 
Cinema  Clubs,  in  Chicago, 
presented  its  annual  Show  of  Shows 
last  month.  The  feature  picture  was 
On  the  Highways  and  Byways  of  Mex- 


m- 


w 


Announcing— 

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WILD    ANIMAL    FILMS 

Complete  life  cycles  of  ■•COYOTE,"  "SAGE 
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famed  Eberhart  organization.  Orders  of  3  or 
6  reels  shipped  in  beautiful  hand-finished 
Ponderosa  pine  cabinet. 
Choose  any  assortment  of  the  following — 
"Coyote"  "Canada  Goose"  "Sage  Grouse" 
"Busy  Beaver"  "Bears!"  "Spotted  Fawns" 
"American  Bison"  "Leaping  Tuna"  "Bocky 
Mountain  Elk"  "American  Deer"  "Big  Horn 
Sheep"     "Moose!"     "Prong   Horn  Antelope" 

8MM    Black   A.   White. . .  Box  of  3 $  5.95 

(each   reel    50') Box  of  6 10.95 

8MM     Kodachrome    Box  of  3 18.95 

(each    reel    50') Box  of  6 36.45 

I6MM    B    &    W Box  of  3 10.95 

(each   reel    100') Box  of  6 21.45 

I6MM    Kodachrome   Box  of  3 45.95 

(each   reel    100') Box  of  6 90.45 

We  ship  postpaid.  Send  check.  cashorM.O.  to: 

WILD       LIFE       FILMS       CO. 

Dept.   MM- 1  6063  Sunset  Blvd. 

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Price  of   larger   prints  on  request 
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desired.  Add  25c  handling  charge  on 
orders    of    less    than    $5.00.    No    C.O.D.'s. 

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•  Our  bargain  lists  are  free.  If  you  haven't 
our   discount  card,  ask  for  one. 

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#5    Little     Bldg.,    Boston,    Mass. 


32 


JANUARY    1951 


THE  ACL  LEADER 

signature  of  a 
GOOD  FILM 


To   all  ACL  Members: 

Yes,  we've  put  in  18  re-orders  for 
the  ACL  Full  Color  Leader  — and 
still  your  orders  are  pouring  in. 

If  you  haven't  ordered  your  ACL 
Leaders  yet,  you're  missing  all  the 
glow  and  sparkle  that  the  beautiful 
color  footage  will  add  to  your  fin- 
ished films. 

Against  a  dark  background,  the 
earth  —  with  the  continents  vari- 
colored against  the  rich  blue  seas  — 
revolves  slowly  until  the  sparkling, 
crystal  letters  ACL  fade  in  across  the 
sphere's   curvature. 

Then  a  narrow  band  of  brilliant 
red,  bearing  in  white,  raised  letters 
the  word  MEMBER,  swings  across 
the  globe.  A  second  band  of  red, 
with  AMATEUR  CINEMA  in  white, 
zooms  in  from  the  right  and  is  fol- 
lowed by  a  third  red  band,  with  the 
word  LEAGUE. 

A  smooth  lap  dissolve  follows,  and 
across  the  same  three  red  panels  ap- 
pear the  words  WORLD  WIDE  AS- 
SOCIATION OF  MOVIE  MAKERS, 
in  gleaming  white  letters.  These, 
together  with  the  sphere,  then  slowly 
fade  out. 

There's  still  more:  the  trailer.  As 
your  film  ends,  you  fade  in  once  more 
on  the  slowly  spinning  earth  —  and 
a  brilliant  red  band  sweeps  diag- 
onally across  it,  announcing  in  large 
white  letters  THE  END. 


Cordially, 


\ 


JAMES   W.    MOORE 
Managing   Director 

P.S.  16mm.  leaders  are  14  ft.;  8mm., 
7  ft. — same  running  time. 


If  you  are  not  yet  a  member  of  the 
Amateur  Cinema  League,  see  the  inside 
back  cover  of  this  issue  for  complete 
information     and     an     application     blank. 


AMATEUR   CINEMA   LEAGUE.    Inc.  1.51 

420   Lexington  Avenue 
New   York    17,    N.    Y. 

Yes,  as  a  member  of  ACL.  I  certainly  want  several 
of  the  beautiful  new  Kodachrome  leaders.  I  enclose 
my  check  or  money  order  for: 

16mm.  Kodachrome  leaders  at  $1.50  each 

8mm.  Kodachrome  leaders  at  $1.00  each 


Street. 
City 


ico,  photographed  by  Larry  Randall, 
ACL,  of  the  South  Side  Cinema  Club, 
and  narrated  by  Lou  Bohlin.  vicepresi- 
dent  of  the  AACC. 

The  second  half  of  the  program  in- 
cluded Country  Life,  by  Oscar  Berg- 
man, of  the  Edison  Camera  Club;  Her 
Heart's  Desire,  by  Othon  Goetz.  ACL, 
of  the  Metro  Movie  Club,  ACL;  Adven- 
tures in  Snap  Shooting,  by  William 
Ziemer,  president  of  the  Metro  Movie 
Club;  Honey  Harvest,  by  William  W. 
Vincent,  jr.,  FACL.  of  the  Kenosha 
Movie  and  Slide  Club,  ACL,  and  It 
Shouldn't  Happen  to  a  Dog,  by  Gerald 
Richter,  of  the  South  Side  Cinema  Club. 

Australia  The  1950  Gold  Cup  Com- 
petition, sponsored  by  the 
Australian  Amateur  Cine  Society.  ACL, 
was  won  by  A.  T.  Bartlett,  of  Brisbane, 
Queensland.  Give  Us  This  Day  was  the 
trophy  winner's  entry,  running  700  feet 
of  16mm.  Kodachrome  with  sound  on 
disc.  Second  and  third  place  honors 
went  to  H.  Sothern.  also  of  Brisbane, 
for  Sojourn  in  Northern  Italy,  and  L. 
Montagu,  ACL,  of  West  Australia,  for 
Out  to  Lunch. 

Asheville    agenda    The   crowded 

but  interest- 
ing fall  season  of  the  Smoky  Mountain 
Movie  Club  included  the  annual  con- 
test, an  outing,  election  and  the  annual 
banquet.  Newly  elected  officers  are 
Josephine  McDaniel,  ACL,  president; 
Robert  Campbell,  vicepresident.  and 
Betty  Rose  Jayne,  secretary  treasurer. 
The  club's  outing  took  the  form  of 
a  weiner  roast,  staged  at  Bent  Creek. 
The  new  officers  were  installed  at  the 
banquet,  after  which  awards  were  made 
to  winners  of  the  contest.  Dr.  Schell 
took  top  honors  in  the  8mm.  class  for 
The  Deep  South.  Second  and  third 
places  were  filled  by  O.  R.  Powell,  for 
The  Circus,  and  Joe  McDaniel.  for 
The  Fence.  Thor  Behrens,  ACL,  led  the 
16mm.  filmers  with  Paquita  Dolls. 
Goose  Hunting,  by  Dr.  Chapman,  and 
Asheville  Highlights,  by  Zeb  Fox,  ACL, 
were  in  second  and  third  positions. 


NEW  OFFICERS  for  Peninsula  Home  Movies 
Unlimited,  in  California,  pose  for  their  por- 
trait. Seated  (I.  to  r.)  are  Lloyd  Masch,  re- 
cording see'y.;  John  A.  Gorman,  ACL,  presi- 
dent; Al  Baker,  treas.;  standing,  Ralph  Swiclc- 
ard,     sec'y.;     Herb     Holloway,     vicepresident. 

Westwood  agenda  The  West- 
wood  Movie 
Club,  in  San  Francisco,  was  host  last 
month  at  the  regular  monthly  session 
of  the  Northern  California  Council  of 
Amateur  Movie  Clubs.  The  October 
club  meeting  featured  a  discussion  of 
exposure  meter  technique,  led  by  Leo 
Kerkhof.  A  screening  of  San  Francisco, 
in  8mm.  Kodachrome  by  Mr.  and  Mrs. 
Morton  Thomas,  followed  the  talk. 

Westwood  will  be  guest  on  the  radio 
program,  Filming  for  Fun,  on  Sunday, 
December  31.  The  program,  conducted 
by  Clyde  Evans,  ACL,  is  aired  over 
KLX,  San  Francisco,  every  Sunday  at 
12:30  p.m.  Westwood  club  members 
will  be  interviewed  and  activities  of  the 

group  discussed. 

*  *-    * 

ALTHOUGH  it  is  a  useful  gadget  at 
anytime,  a  lens  shade  is  almost  an  essen- 
tial   to  avoid  reflections    in    snow   Aiming. 

*  *     # 

S.  F.  oldies  01d  Picture  Night,  a  re- 
cent special  event  con- 
ducted by  the  Golden  Gate  Cinematog- 
raphers,  ACL.  featured  a  25  year  old 
film  made  on  a  hand-cranked  Keystone 
by  member  Pellegrini.  Father's  Day  and 
Yosemite,  made  fifteen  years  ago  by 
George  Sohst,  and  School  Days  and  The 
Fall  of  the  Alley  Gang,  by  A.  Theo 
Roth,  ACL,  made  about  seventeen  years 
ago,  followed.  A  relatively  new  film, 
The  Inside  of  a  Chair,  by  Per  Rasmus- 
sen,  completed  the  screening. 

In  the  election  that  preceded  the 
meeting,  A.  Hauchildt  was  chosen  presi- 
dent for  the  coming  year,  with  R.  Alex- 
ander as  vicepresident.  A.  W.  Balzarini 
and  H.  Ketjen  are.  respectively,  treas- 
urer and  secretary. 


JACK  SHANDLER,  and  Mrs.  Shandler,  of  the 
Los  Angeles  Cinema  Club,  thread  up  for  a 
screening  of  Paradise  of  Mid-Pacific  before 
members  of  Long  Beach  (Calif.)  Cinema  Club. 


WANT  TO  JOIN  A  MOVIE  CLUB? 

Write  to  the  ACL  for  the  address 
of  the  club  nearest  you.  If  there  is 
no  club  active  in  your  community, 
we'll  send  you  free  a  detailed  bul- 
letin on  how  to  get  one  going. 
Address:  Clubs,  Amateur  Cinema 
League.  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


MOVIE    MAKERS 

The  clinic 

[Continued  from  page  20] 

ends.  Voila!  When  not  in  use,  the  entire 
business  may  be  rolled  up  and  carried 
in  your  jacket  pocket  or  camera  case. 

Charles  Artus,  ACL 
Entretat,  France. 

REVOLVING    TITLE    BACKGROUND 

If  any  filming  fan  wants  a  knockout 
moving  background  for  the  lead  title  of 
his  Christmas  reel,  I  urge  him  to  run, 
not  walk,  to  his  nearest  package  store 
(liquor  dealer,  that  is).  There  he  may 
be  able  to  beg  or  borrow  the  moving 
holiday  display  put  out  this  season  by 
the  Four  Roses  people. 

The  gadget  consists  of  a  large  plastic 
l)all  geared  to  a  tiny  electric  motor 
which  revolves  it  at  four  revolutions  per 
minute.  This  speed  is  ideal  for  one  of 
those  lead  titles  which  move  slowly 
across  the  face  of  the  screen  and  off. 
Your  letters,  of  course,  should  be 
mounted  on  the  curved  surface  with 
some  sort  of  adhesive. 

George  J.  Wieland 
"Woodside,  N.  Y. 

HANDY    FILM    CLEANER 

After  repeatedly  misplacing  that  soft 
■piece  of  velveteen  I  use  for  film  clean- 
ing. I  decided  to  anchor  it  down  in  some 
way  where  it  always  would  be  handy. 
Now  I  have  two  small  blocks  of  wood, 
Tiinged  together  at  one  end  and  with 
their  inner  faces  covered  with  strips  of 
velvet.  In  use.  the  strips  are  moistened 
Tvith  cleaning  fluid,  the  blocks  clamped 
lightly  around  the  film  as  it  passes  from 
one  rewind  to  the  other. 

Some  provision  should  be  made  for 
changing  the  cloth  strips  as  they  be- 
come too  dirty  for  further  use.  And  if 
you're  real  forgetful,  you  can  screw  the 
the  gadget  down  to  the  rewind  board. 
Solomon  Kessler,  ACL 
Portland.  Maine 


Winter  projects 

[Continued  from  page  14] 

■process  filmed.  Ask  your  local  Chamber 
of  Commerce  for  suggestions.  Your  com- 
munity might  be  interested  in  a  movie 
of  the  public  school  system.  Or  perhaps 
a  movie  study  of  the  public  library  or 
local  hospital — as  suggested  in  Novem- 
ler  Movie  Makers. 

Yes,  by  putting  your  movie  equip- 
ment to  work  instead  of  letting  it  hiber- 
nate during  the  long  days,  you'll  keep 
"in  training."  You'll  find  that  as  an 
amateur  cinematographer  you're  on  your 
toes  and  rarin'  to  go  by  the  time  the 
snows  melt  and  the  first  crocus  pops 
through  the  soil.  Give  it  a  try.  Your 
imagination  and  some  film  are  all  it 
takes. 


Behind-the-lens  filters 

[Continued  from  page  11] 

Creation  of  these  tweezers  is  easy. 
Take  any  ordinary  tweezers  of  the  cor- 
rect size,  heat  the  tips  in  a  gas  flame 
and  bend  them  gently  sideways.  Any 
jeweler  can  perform  this  operation  for 
you,  if  you  feel  you  can't  handle  it 
yourself.  Now,  so  that  the  filter  may  be 
inserted  and  withdrawn  from  its  cam- 
era position  with  the  tweezers,  cut  a 
small  notch  in  its  edge  with  an  ordi- 
nary ticket  punch. 

All  of  this  tweezer  business  may 
sound  as  if  the  lacquered  gelatin  filters 
were  uncommonly  delicate.  This  is  not 
wholly  true.  While  they  should  be  han- 
dled carefully  to  avoid  fingermarks  and 
scratches,  so  should  glass  filters  and 
indeed  your  lenses.  Your  lacquered  fil- 
ters may  be  cleaned  with  film  cleaning 
fluid,  if  necessary,  and  they  are  best 
kept  between  sheets  of  soft  white  paper 
in  suitably  labeled  envelopes.  Stored 
in  this  way,  a  complete  set  can  easily 
be  carried  in  your  camera  case  with- 
out any  excess  weight  or  sacrifice  of 
space. 

A  titling  tell-all 

[Continued  from  page  15] 

distance  and  the  correct  diopter  lens 
to  be  used  at  this  distance.  By  a  simple 
example,  let  us  see  how  the  nomo- 
graphic chart  will  determine  these 
data. 

We  have  decided,  for  instance,  that 
a  title  area  4  inches  wide  will  be  suit- 
able for  the  size  of  letters  to  be  used 
or  the  picture  background  we  have  in 
mind.  First,  we  will  need  to  know  the 
corresponding  height  of  this  area.  En- 
tering the  chart  along  the  Width-of- 
Title-in-Inches  scale,  we  place  a  straight- 
edge on  the  4-inch  point  and  align  it 
with  Pivot  A.  Reference  to  the  Height- 
of-Title-in-Inches  scale  now  shows  that 
our  title  area  must  be  3  inches  high. 

The  next  fact  we  need  to  know  is 
how  far  the  camera  should  be  from  our 
title  card  so  that  its  lens  will  just  cover 
this  4  by  3  inch  area.  We  intend  using, 
let's  say,  the  standard  1  inch  lens  on 
a  simple  16mm.  camera.  Again  entering 
the  chart  along  the  Width-of-Title-in- 
Inches  scale  we  place  a  straightedge  on 
the  4-inch  point  and  align  it  with  the 
25mm.  point  of  the  Focal-Length-of- 
Lens  scale.  Reading  from  the  scale 
marked  Distance-of-Auxiliary-Lens-from 
Title-in-Inches,  we  find  that  the  correct 
camera-to-card  distance  will  be  20 
inches.  (Exactly  the  same  finding,  of 
course,  would  result  if  we  were  using  a 


13 


25mm.,  or  1  inch,  telephoto  on  an  8mm. 
camera.) 

So  far,  so  good.  But  the  1  inch  lens 
on  our  16mm.  camera  is  a  fixed  focus 
unit  and  we  know  we  cannot  work  as 
close  as  20  inches  from  the  subject. 
An  auxiliary  lens  is  needed;  but  what 
diopter  strength  should  it  be?  We  now 
enter  the  chart  along  the  Distance-of- 
Auxiliary-Lens  scale,  place  the  straight- 
edge on  the  20  inch  distance  just  de- 
termined, and  align  it  with  Pivot  B. 
Reference  to  the  Diopter-of-Auxiliary- 
Lens  scale  shows  the  desired  strength 
to  be  2  diopters.  With  this  auxiliary 
lens  over  the  fixed  focus  objective  (or 
on  a  focusing  lens  set  at  Infinity ) ,  our 
title  copy  will  be  in  perfect  focus. 

There  remains  now  only  the  matter 
of  centering  your  title  card.  The  nomo- 
graphic chart  cannot  aid  you  in  this. 
But  I  can  refer  you  to  the  simple  and 
excellent  system  outlined  by  Roy  H. 
Burgess,  ACL.  in  Your  Titles  Will  be 
Centered;  it  appeared  in  the  October, 
1950,  number  of  this  magazine. 


n 


Getting  "The  Gannets 

[Continued  from  page  10] 


not  hard  to  find.  Part  of  Eric  Coates's 
Dancing  Nights  provides  the  introduc- 
tion and  carries  through  the  locale- 
establishing  scenes.  From  this  point, 
parts  of  Swan  Lake  and  Khachaturian's 
Gayne  ballet  music  fit  the  tempo  to  the 
end.  Recording  was  accomplished  by 
using  two  wire  recorders;  the  narration 
alone  was  recorded  on  one  machine 
and  was  then  played  electrically  into 
the  second,  at  the  same  time  as  the 
music  was  being  fed  into  the  second 
recorder.  Synchronization  is  maintained 
at  all  times,  using  the  technique  de- 
scribed in  the  April,  1949,  issue  of 
Movie  Makers. 

Welcome  to  Tucson 

[Continued  from  page  23] 

sight  until  you  have  offered  cigarettes, 
passed  candy  to  the  children  and  ad- 
mired the  papooses.  Most  of  the  Indians, 
especially  on  the  reservations,  expect  to 
be  paid  a  nominal  fee  for  posing,"  he 
continued.  "But  don't  overpay  them 
either." 

DON'T  MISS   DUDE  RANCHING 

Another  source  of  good  action  and 
human  interest  will  be  found  in  Tucson's 
20  million  dollar  a  year  dude  ranch 
industry.  There  are  some  seventy  five 
ranches  in  and  around  the  city,  so  you 
can  take  your  pick.  You  will  want 
closeups  of  some  of  the  name  plaques 
at  the  entrances,  both  because  they  are 
good  identification  and  because  many 
of  them  have  unusual  names  and  de- 
signs. 

One    ranch    will    probably    have    a 


34 


JANUARY   1951 


EXPERIENCE   ISN'T  EVERYTHING 


FOR  two  years  in  a  row,  now,  the  Maxim  Memorial 
Award  has  been  won  by  a  fllmer  with  compara- 
tively brief  experience  in  our  chosen  hobby.  War- 
ren A.  Levett,  ACL,  the  1950  winner,  has  been  look- 
ing through  a  16mm.  viewfinder  for  little  more  than 
four  years.  Glen  H.  Turner,  ACL,  the  top  movie 
maker  of  1949,  had  only  two  and  a  half  years  of 
8mm.  filming  when  his  One  Summer  Day  took  the 
treasured  trophy.  On  the  bare  face  of  it,  these  facts 
should  lend  encouragement  to  all. 

But  don't  let  them  mislead  you.  There  are  a  number 
of  important  aspects  of  making  a  good  movie  which 
are  not  indicated  by — nor  may  they  much  depend  on 
— one's  length  of  filming  experience.  While  we  do 
not  pretend  to  have  foregathered  them  all  here,  a 
few  which  do  occur  to  us  are  the  following: 

First  of  all,  the  filmer  must  have  within  himself  a 
genuine  desire  to  improve  his  pictures.  Without  this 
enthusiasm,  ambition  and  resolve,  experience  may 
well  mean  nothing.  (Each  of  you  must  know  a  ten, 
fifteen  or  twenty  year  movie  maker  who  still  has  not 
made  a  real  movie!)  With  this  resolve,  however, 
nearly  any  accomplishment  may  be  within  your  reach. 

Improvement,  however,  cannot  feed  on  emotion 
only.  Growing  skills  are  sinewed  by  growing  knowl- 


edge— and  knowledge  means  study.  Along  with  an 
intelligent  eagerness  to  know  the  "whys"  and  "hows" 
of  movie  making,  growing  knowledge  also  entails  a 
sizable  assortment  of  growing  pains.  Spurred  on  by 
his  ambition,  the  imaginative  filmer's  concepts  will 
for  some  time  outstrip  his  technical  abilities  to  attain 
them.  There  will  be  setbacks  and  disappointments. 
And  so,  along  with  resolution  and  study,  the  fine- 
filmer-to-be  will  need  patience  and  perseverance. 

On  the  less  technical  side,  there  are  still  other 
talents  which  must  flower  with  one's  camera  skills. 
An  appreciation  of  good  composition  contributes 
much.  A  sense  of  "story"  development  (not  neces- 
sarily in  photoplay  form)  is  important.  And  a  true 
understanding  of  what  makes  a  movie  is  mandatory. 

With  some  of  us  these  abilities  and  instincts  develop 
quickly.  With  others,  the  development  is  slow  and 
arduous — and  with  others,  not  at  all.  Sooner  or  later, 
however,  at  some  moment  which  no  one  of  us  can 
predict — saying,  "I,  in  two  years,  three  years,  five  years, 
will  be  a  fine  filmer" — sooner  or  later  all  of  the  magic 
elements  are  present.  Smoothly,  then,  each  melds  with 
the  other,  and  a  great  movie  is  the  result. 

Experience,  intelligently  used,  may  hasten  that  mo- 
ment. But  it  alone  can  never  guarantee  it. 


THE    AMATEUR    CINEMA    LEAGUE,    Inc. 
Founded  in  1926  by  Hiram  Percy  Maxim 


Joseph  J.  Harley,  President 
Ethelbert  Warfield,  Treasurer 

C.  R.  Dooley 
Arthur  H.  Elliott 
John  V.  Hansen 


DIRECTORS 

Ralph  E.  Gray,  Vicepresident 
James  W.  Moore,  Managing  Director 


Harold  E.  B.  Speight 
Stephen  F.  Voorhees 
Roy  C.  Wilcox 


The  Amateur  Cinema  League,  Inc.,  sole  owner  and  publisher  of 
MOVIE  MAKERS,  is  an  international  organization  of  filmers.  The 
League  offers  its  members  help  in  planning  and  making  movies.  It 
aids  movie  clubs  and  maintains  for  them  a  film  exchange.  It  has 
various  special  services  and  publications  for  members.  Your  member- 
ship  is   invited.   Six  dollars   a  year. 


AMATEUR     CINEMA     LEAGUE.     Inc..  420     LEXINGTON    AVE..   NEW  YORK     1 7,   N.  Y..  U.  S.  A. 


group  starting  out  on  a  ride  over  desert 
trails  into  the  rolling  foothills.  You 
might  go  along.  Try  to  get  the  bright 
colored  shirts  and  levis  against  scenic 
skies  and  country.  Or  you  might  prefer 
to  stay  around  the  ranch  swimming  pool 
and  line  up  some  pretty  girls  in  fancy 
cowboy  togs  or  sun  shorts. 

At  other  ranches  you  can  find  groups 
of  dudes  having  a  chuck  wagon  supper 
around  a  crackling  campfire.  playing 
shuffle  board,  having  an  outdoor  fashion 
show,  a  square  dance  or  a  barbecue — 
any  number  of  activities  that  will  keep 
your  footage  counter  ticking.  You'll  be 
impressed  with  the  friendliness  of  the 
people,  especially  the  ranch  owners. 
After  all,  there  might  be  a  potential 
dude  or  dudine  among  your  friends 
who  see  the  film.         , 

FIESTA  IN   FEBRUARY 
You'll  get  more  outdoor  action  every 
February  when  all  of  Tucson  puts  on 
its  Western  outfits  and  throws  the  an- 


nual Fiesta  de  los  Vaqueros.  In  the 
parade,  the  only  one  in  the  country 
barring  motor-powered  vehicles,  literal- 
ly hundreds  of  horses  carry  riders, 
draw  carts  and  old  carriages,  stage- 
coaches and  other  relics  of  the  West. 
Indians  in  native  costumes,  drum  corps, 
marching  units,  strutting  majorettes, 
floats  in  the  Old  Western  themes,  scores 
of  riders  in  beautiful  regalia,  the 
Sheriff's  posse  all  mounted  on  golden 
Palominos — everyone  gets  into  the  act. 
Even  the  spectators  must  dress  West- 
ern or  risk  getting  thrown  into  the 
portable  hoosegow  and  fined.  The  pro- 
ceeds go  to  charity. 

The  parade  route  is  published  in  the 
newspapers  in  advance.  The  parade  be- 
gins at  about  ten  o'clock  in  the  morn- 
ing, but  you'll  have  to  get  there  early 
if  you  want  a  good  camera  position. 
Pick  a  nice  building  or  a  section  of  the 
park  for  your  background,  and  don't 
forget  some  human  interest  closeups 
and  angle  shots  for  cut-ins. 


ROUGH  RIDING  AT  RODEO 
After  the  parade  there  will  be  all 
manner  of  exciting  doings  at  the  rodeo 
— bull  and  bronc  riding,  calf  roping 
and  tying,  team  tying,  bull  dogging, 
trick  riding  and  all  the  rest.  Amateur 
photographers  are  kept  out  of  the  arena 
for  their  own  safety.  More  than  one 
angry  Brahman  bull  has  sent  a  camera- 
man and  his  equipment  sailing  sky  high, 
while  snorting  horses  stomp  on  avail- 
able toes.  But  don't  despair.  Get  a  seat 
in  the  grandstand  as  near  to  the  chutes 
as  possible.  If  you  have  never  covered 
a  rodeo  before,  it  is  a  good  idea  to  do  a 
little  dry  shooting  before  you  begin  in 
earnest.  It  isn't  easy  to  keep  a  rearing, 
pitching,  unpredictable  animal  in  your 
finder. 

And  to  end  your  film  there  are  many 
out-of-the-world  sunsets  to  be  recorded. 
It  has  been  done  before,  but  somehow 
there  is  no  ending  quite  so  satisfying 
and  conclusive  as  a  beautiful  Western 
sky. 


BEGIN  THE  NEW  YEAR  RIGHT! 

AND  MAKE  BETTER  FILMS 


HERE'S  HOW  THE  AMATEUR  CINEMA  LEAGUE 
CAN  HELP  YOU  with  your  filming  interests  just 

as  it  has  advised  and  aided  more  than  100,000  A   GUIDE    TO 

■■.I'jfi 

other  movie  makers: 

AS   A   MEMBER  YOU   RECEIVE 

I -The  ACL  MOVIE  BOOK  -  the  finest  guide  to 
8mm.  and  16mm.  movie  making.  311  pages  of 
information  and  over  100  illustrations.  This 
guide  sells  for  $3.00! 

2-MOVIE  MAKERS -the  ACL's  fascinating, 
friendly,  up-to-the-minute  magazine  —  every 
month.  Chock  full  of  ideas  and  instructions  on 
every  aspect  of  movie  making. 


PLUS  THE  FOLLOWING  LEAGUE  SERVICES 


AMATEUR    CINEMA    LEAGUE ,<  INC. 


Continuity  and  Film  Planning  Service  .  .  .  planning  to  make 
a  movie  of  your  vacation?  of  your  family?  The  ACL's  con- 
sulting department  will  work  up  film  treatments  for  you,  full 
of  specific  ideas  on  the  planning,  shooting  and  editing  work. 
Special  forms  are  available  to  help  you  present  your  ideas 
to  the  consulting   department. 

Club  Service  .  .  .  want  to  start  a  club?  The  ACL  club  depart- 
ment will  give  you  helpful  tips  based  on  experience  with  clubs 
around  the  world  for  more  than  23  years. 

Film  Review  Service  .  .  .  you've  shot  your  film  and  now  you 
want  to  know  how  it  stacks  up?  Are  there  sequences  in  it 
that  you're  not  quite  sure  of?  Any  8mm.  or  16mm.  film  may 
be  sent  to  the  ACL  at  any  time  for  complete  screening,  de- 
tailed criticism  and  overall  review. 

Booklets  and  Service  Sheets  .  .  .  service  sheets  on  specific 
problems  that  you  may  come  up  against  are  published  at 
intervals.  They  are  yours  for  the  asking.  Current  booklets 
are:  The  ACL  Data  Book;  Featuring  The  Family;  Building  a 
Dual  Turntable. 


ALL  THIS  IS  YOURS  FOR  ONLY  $6.00  A  YEAR! 

(less  than  the  price  of  a  roll  of  color  film) 


EXTRA  -  NOW     AVAILABLE! 

Official  League  leaders  in  full  color! 

Official    League   lapel    pins   for  you 
to  wear! 

Official  League  stickers  for  all  your 
equipment! 


I 


1-51 
AMATEUR    CINEMA    LEAGUE,    Inc. 
420    Lexington    Avenue 
New  York   17,  N.  Y. 

I  wish  to  become  a  member  of  the  ACL,  receiving 
the  ACL  MOVIE  BOOK,  Movie  Makers  monthly,  ond 
all  the  League  services  for  one  year.  I  enclose  re- 
mittance for  $6  (of  which  $2  is  for  a  year's  sub- 
scription to  Movie  Makers)  made  payable  to  Amateur 
Cinema    League,    Inc. 


1  Name_ 

I 

■  Street- 

I  City 


I 


Zone State- 


-inchT2.7  (f/2.5)  B&H Super 
Comat.  Standard  C  mount  for 
16mm  cameras.  Click  CnQQ^ 
stops.  Filmocoted.  ^0  \j 


Announcing  newest 

famous  Bell  sHowel 
ftmilu  of  fine  lenses  I 

(      ;iv  of  movie  lenses 
Newest  addition  to  the  W» *™£,  Hobson  Cooke 
is  the  very  fast  l-««*  *£ "'  g0%,  greater  resolution 
SSt  It  gives :  from ^"ofTe  PiCutes  than  an, 

*£?SS^  ^hXX^-inoh  iens.  Bell 

With  the  addition  rf  thgnm  rf seve„ out- 

&  Howell  brings  you  the  fif*  »        ^  twlce  the 

standing  lenses, Each    en    ^ .^^  e» 


member  in  the 


.J-inch  f/1.4  Taylor  Hobson 
Cooke  Ivotal  in  focusing 
mount.  Unusual  resolving 
power  for  sharpest  defini- 
tion. Finest  color  correc- 
tion. Click  stops.  Depth  of 
field  scale  in  dis-  e  ■*  ■»  A  nc 
tinguishing  red.    *  |  /  JJ 


inch  T  1.6  (f/1.4)  Taylor 
Hobson  Cooke  Ivotal.  Stand- 
ard C  mount  for  16mm  cam- 
eras. Click  stops.  Filmocoted. 
(Also  available  for  B&H  snap- 
on  mount  8mm  (1*7(101: 
cameras)  1/3 


^-inch  T  2.5  (f/2.3) 
Taylor  Hobson  Cooke  Pan- 
chrotal.  Standard  C  mount  f  or 
16mm  cameras.  Extra  legible 
depth  of  field  scale.  Click 
stops.  Filmocoted. 


$18250 


-inch  T  2.5  (f/2.3)  Taylor 
Hobson  Cooke  Panchrotal. 
Standard  C  mount  for  16mm 
cameras.  Extra  legible  depth 
of  field  scale.Click  stops.  Filmo- 
coted. Nearly  50%  faster  than  ' 
the  fastest  of  any  other  lead- 
ing 4 -inch  lens  — 400%  faster 
than  the  slowest.      5900  95 


\ 


Only  Bell  &  Howell  lenses  give  you  these  three  advantages: 


i  Highest  degree  of  correction  yet 
developed  for  16mm  film.  Same 
sharpness  and  contrast  for  all 
lenses,  regardless  of  focal  length. 


^•Uniform-step  magnifica- 
tion—just like  the  lenses 
Hollywood  studios  use. 


%3»Widest  range  from  which  to 
choose.  Complete  family  will 
include  seven  superb  lenses. 


You  buy  for  life  when  you  buy  Bell  •£  HOW0.il 

Chicago  45 


WATCH    YOUR    ANGLES      •      COMMON    LIGHTING    ERRORS      •      BOLEX    LENS    SURVEY 


What 


mean 


Five  times  every  second— eighteen 
thousand  times  every  hour— your 
Swiss  watch  is  a  masterpiece  of  pre- 
cision. In  twenty-five  years,  its  escape 
wheel  has  been  hit  four  thousand  million 
times  —  only  microscopically-ground 
jewelled  bearings  and  ten  different  types 
of  steel  can  take  this 
incredible  beating. 
For  more  than  150 
years  in  the  high 
winter-locked  cantons 
of  the  Alps,  the  Swiss 
have  learned,  and  passed 
from  generation  to  gener- 
ation, the  secrets  and  skills  of 
intricate  mechanism  manufac- 
ture. Your  great  grandpa  was 
proud  of  his  Swiss-made  key- 
wound  watch— your  grandma, 
her  Swiss  musical  box.  In  father's 
boyhood— the  Swiss  gramophone.  In 
sister's  working  day— a  Swiss  typewriter. 
On  your  day  off— a  Swiss  movie  camera. 
One  hundred  and  fifty  years  have  pro- 
duced a  brand  of  craftsmanship  and  skill 
that  can  be  aided  . . .  but  never  surpassed 
. . .  by  modern  mass  production  methods. 
Behind  every  Bolex  is  this  tradition  of 
combined  craftsmanship— that  of  the 
watchmaker— the  engineer— the  optical 
designer— the  physicist. 


In  the  field  of  movie  camera  manufac- 
ture, only  the  Paillard  company  has  this 
background  of  more  than  four  gener- 
ations of  experience.  And  yet  the  Bolex 
engineers  are  ever  alert  to  new  develop- 
ments in  movie-making.  No  other  camera 
in  its  price  class  even  approaches  the 
versatility  or  performance  of  the  Bolex  — 
no  other  movie  camera  can  offer  the 
same  economy  of  actual  film  production 
coupled  with  simplified,  positive-action 
spool  loading.  There  are  no  second 
thoughts  or  after  thoughts  about  a  Bolex 
—the  camera  that  is  first  with  so  many 
exclusive  features. 

Automatic  threading,  full  reverse  wind 
for  any  or  all  of  the  film,  clutch  dis- 
engagement of  the  motor,  eye-level  focus, 
adding  and  subtracting  frame  counter, 
and  the  universal  Octameter  finder.  For 
the  perfectionist,  there  is  the  line  of 
Kern-Paillard  "Visifocus"  lenses,  de- 
signed to  match  the  fine  performance  of 
all  Bolex  cameras.  These,  and  many  more 
features  are  yours  only  with  a  Bolex. 

Meet  your  Bolex  Dealer  and  get  to 
know  more  about  Bolex— why  a  Swiss 
movement  is  as  important  in  a  movie 
camera  as  a  chronometer— what  makes 
the  Bolex  tick,  how  Bolex  Service  is 
available  the  world  over— and  how  you 
can  make  finer  movies— with  a  Bolex. 

Your  Bolex  Dealer  has  Bolex  H  models 
available  from  $244.75  to  $318.00,  less 
lenses,  no  tax. 

Bolex  owners— receive  regular  free  mailings 
of  the  25c  magazine  "Bolex  Reporter"  by 
registering  the  serial  numbers  of  your 
Bolex  equipment  with  us. 

Paillard  Products,  Inc. 
265  Madison   Ave.,  New  York  16,  N.  Y. 


Model  H-16  <&  H=8  Movie  Cameras 


i-t«  20  195: 

MOVIE  MAKERS 


*9 


A  warm  welcome  is  extended  to  all  of  the  new 
ACL  members  listed  below.  They  have  been 
elected  to  and  joined  the  League  since  our  last 
publication.  The  League  will  be  glad  to  forward 
letters  between  members  which  are  sent  to  us 
with   a  covering  note  requesting   such   service. 


Caesar  Dentino,  Peoria,  III. 

Milton  L.  Goldman,  Philadelphia,  Pa. 

Rev.  H.  R.  Pannabecker,  Toronto,  Canada 

Ray  Richards,  Glen  Oaks,  N.  Y. 

Mary  L.  Rickert,  Albany,  N.  Y. 

Robert  0.  Smith,  Cambridge,  Mass. 

William  H.  Snyder,  Reading,  Pa. 

D.  Irving  Temple,  New  Rochelle,  N.  Y. 

Sidney  A.  Weiss,  Pittsburgh,  Pa. 

Arnold  M.  Bisberg,  New  Britain,  Conn. 
James  P.  Boyce,  Warn  ego,  Kans. 
Joseph  H.  Brown,  Montvale,  N.  J. 
Stanley  J.  Chadwick,  Teaneck,  N.  J. 
William  C.  Cook,  Monsey,  N.  Y. 
Morris  J.  Feigenbaum,  Hartford,  Conn. 
J.  M.  Gilliam,  Scottsville,  Ky. 
F.  Eugene  Hart,  Union  City,  Ind. 
Charles  P.  Healey,  Jersey  City,  N.  J. 
Richard  E.  Holtzman,  South  Bend,  Ind. 
Carl  A.  Johnson,  Dallas,  Texas 
Kenneth  W.  Lampert,  Brooklyn,  N.  Y. 
Willis  S.  Martin,  Ft.  Wayne,  Ind. 
Samuel  Maxwell,  Detroit,  Mich. 
F.  William  McMillin,  Morristown,  N.  J. 
John  Charles  Mendel,  Birmingham,  Ala. 
Benjamin  J.  Olejarski,  Staten  Island,  N.  Y. 
M.  Edward  Remsen,  Malverne,  N.  Y. 
William  Stefanu,  Chicago,  III. 
Miss  Opal  Wike,  Hickory,  N.  C. 
Harry  B.  Woolnough,  East  Hempstead,  N.  Y. 

Andrew  Asmonda,  Swissvale,  Pa. 
Harold  R.  Beckwith,  Flint,  Mich. 
J.  H.  Belt,  Salt  Lake  City,  Utah 
Frank  E.  Bradley,  Northampton,  Mass. 
Dr.  P.  L.  Brandstein,  New  York  City 
Leland  W.  Hansen,  Anaheim,  Calif. 
Daniel  L.  Holmes,  Braintree,  Mass. 
Morton  M.  Jones,  Kansas  City,  Mo. 
Alexander  S.  Krampovitis,  Bridgeport,  Conn. 
Alexander  J.  McMurray,  Newark,  N.  J. 
H.  E.  Prentice,  Ensign,  Kans. 
Fred  A.  Smith,  Vancouver,  Canada 

Morris  L.  Binday,  Hempstead,  N.  Y. 
Robert  J.  Cigoy,  Cleveland.  Ohio 
Richard  R.  Crow,  Forest  Hills,  N.  Y. 
William  W.  Edwards,  Akron,  Ohio 
Eduardo  Fleischmann  0.,  Guatemala  City, 

Guatemala 
Mrs.  Josephine  G.  Halliburton,  Macon,  Ga. 
H.  H.  Hinrichs,  Kansas  City,  Mo. 
Al  Karseboom,  Broooklyn,  N.  Y. 
Gerald  D.  Kimberly.  Ann  Arbor,  Mich. 
Walter  V.  Mitton,  Augusta,  Maine 
Burton  A.  Schenley,  New  York  City 
T  &  V  Movie  Club,  New  York  City 

Harold  C.  Arnold,  Saskatoon,  Canada 
Dr.  Stephen  L.  BeGell,  Binghamton,  N.  Y. 
David  L.  Dooley,  Oklahoma  City,  Okla. 
Dr.  Phyllis  D.  Schaefer,  Philadelphia,  Pa. 
Dr.  Stephen  Szalay,  Teaneck,  N.  J. 
Mrs.  R.  L.  Wyrick,  Park  Place,  Ore. 
Edward  P.  Alazzoni,  Louisville,  Ky. 
Edward  F.  Cook,  Trenton,  N.  J. 
Gates  D.  Dunn,  Atlanta,  Ga. 
Albert  Feinauer,  Providence,  R.  I. 
Edward  French,  Albany,  N.  Y. 
Robert  H.  Guetschow,  Chicago,  111. 
Maude  Hall,  Detroit,  Mich. 
Leighton  P.  Harrison,  Vancouver,  Canada 
Alex  S.  Macdonald,  Rosseau,  Canada 
Emily  Materna.  Memphis,  Tenn. 
Peter  Nickels,  Ottawa,  III. 


Why  M  Own  the  Best? 


For  home  movies  of  theatrical 
quality,  try  the  new  rf Cine  -Voice" 
16mm  Sound -On -Film  Camera. 
Shoot  full-color  or  black  &  white. 
Now  you  can  enjoy  your  own 
High-Fidelity   talking  pictures! 


$695.00  with  a  30-day 
money-back  guarantee. 
You  must  be  satisfied. 
Write  today  for  free 
illustrated  "Cine- Voice" 
folder  describing  this 
newest  achievement 
in    16  mm    cameras. 


^* 


'^Sfe 


BERJDT-BMH,  Incorporated 

7383  Beverly  Blvd.,  Los  Angeles  36,  Calif. 

MANUFACTURERS    OF   SOUND-ON  -  FILM    RECORDING    EQUIPMENT    SINCE    193! 


40 


FEBRUARY    1951 


HBUO! 


## 


want  finer 

home  i 

movies  • 

Gef  the  new  MEDIUM  BEAM 

G°E  REFLECTOR 

PHOTOLAMPS 

•  To  capture  precious  movies 
you'll  prize  for  a  lifetime,  be  sure 
you  have  good  lighting.  Use  the 
new  Medium  Beam  G-E  Reflector 
Photolamps! 

They're  designed  expressly  for 
home  movie  making.  With  375 
watts,  you  use  less  current  and  can 
have  four  on  a  single  circuit.  It's 
smart  to  use  them  in  pairs,  too,  to 
give  better  balanced  lighting  for 
color.  40°  beam  matches  camera 
coverage,  so  you  get  more  usable 
light  right  where  it's  needed. 

Try  the  new  Medium  Beam  G-E 
Reflector  Photolamps  soon! 


(And  to  "follow" 
lively  children,  put 
PH-375s  in  handy 
camera  light  brack- 
ets. Seeyour dealer!) 


Remember  .  .  .  G-E  Lamps 
for  every  photographic  purpose 


GENERAL 
ELECTRIC 


THE  MAGAZINE  FOR 
8mm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


February 
1951 


New  ACL  members 

The  reader  writes 

Closeups 

Ideas  for  Easter 


39 
42 

What  filmers  are  doing    44 
William  L.  Lucas    45 


What's  wrong  with  my  angle? 

Photographs  by  Ernest  H.  Kremer,  ACL    46 


Take  it  easy  with  Indians! 
The  clinic 
Third-floor  theatre 


Elmer  W.  Albinson,  ACL   48 

Aids  for   your   filming    50 

A.  C.  Hugh,  ACL    51 


Some  common  lighting  errors 

Photographs  by  Leo  J.  Heffernan,  FACL    54 


Will  they  fit  my  camera? 

Movies  at  Monterey 

An  improved  film  cleaner 

News  of  the  industry 

Clubs 

One-man  movies 


Ernst  Wildi,  ACL    56 

Felix  Zelenka    58 

Lewis  C.  Cook,  ACL   59 

Reports  on    products   60 

People,  plans  and   programs    64 

Editorial   66 


Cover  photograph  by  Harold   M    Lambert  from  Frederic  Lewis 


JAMES  W.  MOORE 
Editor 


DON  CHARBONNEAU 
Consultant  Editor 


ANNE  YOUNG 
Production  Editor 


JAMES  YOUNG 
Advertising  Manager 


Vol.  26,  No.  2.  Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
League,  Inc.  Subscription  rates:  S3. 00  a  year,  postpaid,  in  the  United  States  and 
Possessions  and  in  Argentina,  Bolivia,  Brazil,  Chile,  Colombia,  Costa  Rica, 
Cuba,  Dominican  Republic,  Ecuador,  El  Salvador,  Guatemala,  Haiti,  Honduras, 
Mexico,  Nicaragua,  Panama,  Paraguay,  Peru,  Spain  and  Colonies,  Uruguay  and 
Venezuela;  $3.50  a  year,  postpaid,  in  Canada,  Labrador  and  Newfoundland; 
other  countries  $4.00  a  year,  postpaid;  to  members  of  Amateur  Cinema  League, 
Inc.,  $2.00  a  year,  postpaid;  single  copies  25£  (in  U.  S.  A.).  On  sale  at  photo- 
graphic dealers  everywhere.  Entered  as  second  class  matter,  August,*  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3,  1879.  Copyright, 
1951,  by  Amateur  Cinema  League,  Inc.  Editorial  and  Publication  Office:  420 
Lexington  Avenue,  New  York  17,  N.  Y.,  U.S.A.  Telephone  LExington  2-0270. 
West  Coast  Representative:  Edmund  J.  Kerr,  6605  Hollywood  Boulevard,  Los 
Angeles  28,  Calif.  Telephone  HEmpstead  3171.  Advertising  rates  on  application. 
Forms  close  on   10th  of  preceding  month. 

CHANGE  OF  ADDRESS:  a  change  of  address  must  reach  us  at  least  by  the 
twelfth  of  the  month  preceding  the  publication  of  the  number  of  MOVIE 
MAKERS  with  which  it  is  to  take  effect. 


_ 


MOVIE   MAKERS 


AGAIN! 


41 


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so  much  more  for  your  movie  equipment 
dollar.  Embodying  the  same  fine  precision 

workmanship  that  has  always  distinguished 
Revere  products,  they  are  years  ahead  in 
design  and  features,  tops  in  performance — 
truly  luxury  equipment  at  budget  prices. 
See  them  at  your  dealer  today.  Compare  them 
with  others  and  you'll  readily  appreciate 
why  Revere,  more  than  ever,  is  the  choice  of 

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O 


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42 


FEBRUARY   1951 


COMMONWEALTH 


Announces 
THREE  New  Additions 

to  the 

Edward  Small  Group 
Now  making  |Q  in  all 


JLUNNr 

OF 

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6E0RGE   V 

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crnsm 


Madeleine  Carroll         ^^^^ 

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SeNKm  W  THE  .RON  MASK 

a1genTlemanBafter  dark 

^onDonlevy.  Miriam  Hopkrns 

KIT  CARSON  Andei 

Jon  Hall,  lynn   Ban,  ua  _~ 

THE  CORSICAN  BROTHERS 

Douglas  Fairbanks,  Jr., 
Akim  TamiroH 

William  Gorgon,    Guy    M»» 
Moore,  Peggy  Ry°" 

^sV^t0hV0m0oh.scans 

L  Ron'olpn   SCO,,,  Nnnie  Barnes,  Hen,, 
Witcoxon  ._-«—» 

FRIENDLY  ENEMIES 

Charles  Winn.ger,  Char  es  Rugg 
jomes  Craig,  Nancy  Kelly 


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This  department  has  been  added  to  Movie  Makers 
because  you,  the  reader,  want  it.  We  welcome  it 
to  our  columns.  This  is  your  place  to  sound  off. 
Send  us  your  comments,  complaints  or  compli- 
ments. Address:  The  Reader  Writes,  Movie 
Makers,  420  Lexington  Ave.,  New  York  17,  N.  Y. 


SIGNIFICANT 

Dear  ACL:  Received  my  December 
Movie  Makers  just  a  few  days  ago,  and 
I  have  been  reading  and  re-reading  it 
since.  It  seems  to  me  to  be  a  most  sig- 
nificant issue.  The  articles  on  the  in- 
dustry and  the  development  of  amateur 
filming  were  especially  interesting.  It's 
amazing  what  has  happened  in  a  few 
short  years.  The  ACL  has  really 
pioneered! 

Glen  H.  Turner,  ACL 
Springville.  Utah 

TALKS    THE    LANGUAGE 

Dear  Friends:  May  I  congratulate  you 
all  on  your  splendid  25th  Anniversary 
issue  of  Movie  Makers!  It  is  a  mag- 
azine that  talks  the  language  of  the 
amateur  and  I  wouldn't  want  to  miss 
a  single  issue. 

Madeline  M.  Lemperle.  ACL 
Rensselaer,  N.  Y. 

HIGHLY    PRIZE 

Dear  Sirs:  I  want  to  thank  you  for 
the  copies  of  your  25th  Anniversary 
number  of  Movie  Makers  which  you 
sent  to  five  filming  friends  of  mine. 

We  highly  prize  this  issue,  due  to 
the  historical  data  on  the  various  manu- 
facturers' equipment.  It  is  interesting 
to  note  the  struggles  of  the  early  pio- 
neers and  the  great  progress  made  in 
the  25  years  of  organized  effort. 

Ira  F.  Kerwood,  ACL 
McGregor,  Texas 

MINE  OF  INFORMATION 

Dear  Mr.  Moore:  Please  accept  my 
congratulations  on  the  quality  of  your 
25th  Anniversary  issue.  It  was  really 
a  mine  of  information  and  reflected 
clearly  a  considerable  amount  of  hard 
work    on   your   part. 

Thomas  H.  Elwell,  ACL 
Advertising   Manager 
Paillard  Products,  Inc. 
New  York  City 

"MODERN"  CAMERAS 

Gentlemen:  I  have  in  my  library  sev- 
eral bound  volumes  of  Harper's  mag- 
azine dating  from  1870  to  1880.  In  the 
volume  for  1872  there  are  a  page  and 
a  half  of  pictures  of  the  "modern" 
cameras   of  that  era!    Your  story   and 


pictures  beginning  on  page  450  of  De- 
cember Movie  Makers  just  brought 
them  to  mind.  Our  club  members  here 
were  very  much  interested  in  both. 

F.  C.  Barney,  ACL 
Seattle,  Wash. 

FINE  ARTICLES 

Dear  Sirs:  I  certainly  want  to  take 
this  opportunity  to  congratulate  Movie 
Makers  magazine,  not  only  on  its  25th 
Anniversary  issue,  but  throughout  the 
entire  year.  There  have  been  so  many 
fine  articles  which  I  feel  sure  have 
helped  countless  amateurs  in  getting 
more  fun  and  better  results  in  their 
filming. 

Verner  E.  Martin,  ACL 
President 
Dayton  Amateur   Movie   Makers,   ACL 
Dayton,  Ohio 

IMPRESSIVE 

Dear  ACL:  I  was  very  proud  indeed 
to  be  included  among  those  present  in 
your  25th  Anniversary  magazine,  which 
was  a  magnificent  job  in  every  respect. 
Recalling  my  years  on  the  League's 
staff,  I  can  well  imagine  the  blood, 
sweat  and  near-tears  that  went  into  it. 
Rest  assured  it  was  well  worth  the 
time  and  effort;  for  it  was  impressive 
both  in  part  and  in  toto. 

William  Howe,  ACL 
Laguna  Beach,  Calif. 

JUST  THE  THING 

Dear  Friends:  Congratulations  to  the 
League  on  its  25th  birthday  and  to  you 
for  the  Anniversary  issue  of  Movie 
Makers. 

Incidentally,  your  cover  was  very 
good.  Any  magazine  can  print  a  pretty 
picture  on  the  cover,  but  the  specially- 
made  photograph  with  the  accompany- 
ing technical  explanation  was  just  the 
thing  for  our  magazine.  More  like  it 
would  be  in  order. 

H.  D.  Bateman,  ACL 
President 
Agriculture  Amateur  Movie  Makers 
Washington.  D.  C. 

To  all  these  friends — and  many  others 
— our  warmest   thanks. 

In  the  future,  we  shall  try  to  arrange 
for  other  specially-made  cover  photo- 
graphs based  on  movie  themes.  Our 
readers  are  cordially  urged  to  submit 
such  pictures  for  possible  cover  use, 
keeping  in  mind  the  necessity  for  a 
composition  which  will  accept  the  mast- 
head in  the  upper  left  corner.  Prints 
must  be  on  glossy  paper  and  have  a 
minimum  size  of  8  by  10  inches.  Photo- 
graphs accepted  will  be  paid  for  on  pub- 
lication at  our  regular  rate  of  $10  each. 


MOVIE   MAKERS 


43 


THE   BALL   ROLLING 

Gentlemen:  Under  The  Reader  Writes 
for  October,  I  think  Solomon  Kessler, 
ACL,  of  Portland,  Maine,  has  an  ex- 
cellent idea.  We  need  unity,  and  need 
it  right  now.  Our  country  is  in  an 
awful  condition. 

If  you  approve  my  membership  ap- 
plication, I  want  to  start  the  ball  roll- 
ing with  the  following  dope:  I  am  51, 
born  in  Texas,  true  American.  My 
hobbies  are  hunting,  good  movie  equip- 
ment and  fine  guns.  No  fishing,  no 
square  dancing  or  calf  roping.  But  I 
do  brag  about  TEXAS. 

J.  B.  Dalton,  ACL 
Abilene,  Texas 

FEEL  CLOSER 

Dear  ACL:  I  would  like  to  state  that 
I  agree  with  Mr.  Solomon  Kessler's 
idea,  of  Portland.  Maine.  I  think  the 
magazine  should  have  a  page  devoted 
to  photos  of  our  fellow  members  with 
information  about  them.  By  this  way 
we  might  feel  closer  to  each  other, 
even  for  those  who  live  outside  the 
States.  What  do  you  think? 

Orlando  Matas,  ACL 
Havana,  Cuba 

We  think  yes,  emphatically  —  and  if 
reader  interest  supports  this  idea,  we'll 
find  a  place  for  it  in  Movie  Makers. 

In  the  meantime,  every  member  of 
ACL  is  sincerely  invited  to  send  us  a 
brief  biography  and  photograph  for  use 
on  this  get-together  page.  While  member 
Dalton's  biog  (above)  is  a  model  of  re- 
freshing candor  and  brevity,  perhaps  a 
bit  more  data  would  be  still  more  in- 
teresting. .  .  Let  us  hear  from  you,  soon. 

DR.   LIVINGSTON,   WE   PRESUME 

Dear  Sirs:  Thank  you  so  much  for 
your  superb  ACL  leader  and  the  lapel 
pin,  the  latter  of  which  has  already 
been  of  use  to  me. 

On  the  second  day  of  a  recent  trip 
into  the  unexplored  area  of  New 
Zealand,  and  just  as  we  were  leaving 
civilization,  I  met  an  American  mem- 
ber, Chris  Hansen,  the  introduction 
being  brought  about  by  your  pin  which 
I  wore  on  my  shirt.  We  had  quite  a 
long  talk  about  cine  matters.  Very  nice. 
Ian  Pollard,  ACL 
Dunedin,  N.  Z. 

CARD  STOPS  COP 

Gentlemen:  During  the  Rose  Festival 
last  fall  at  Tyler,  Texas,  I  was  taking 
a  shot  of  the  Court  House  when  I  was 
stopped  by  a  policeman  who  asked  me 
if  I  had  a  license  to  take  pictures.  I 
replied  I  was  not  a  professional;  but 
he  wanted  proof.  I  showed  him  my 
driver's  license,  bank  reference,  mem- 
bership to  my  hunting  lodge  and  even 
a  burial  insurance  receipt — all  of  which 
failed  to   meet  his   requirements. 

Finally,  I  happened  to  think  of  my 
membership  card  in  the  Amateur  Cin- 
ema League.  Upon  showing  this  to  him, 
he  graciously  admitted  defeat  and  gave 


me  a  key  to  the  city  .  .  .  Here's  my 
check  for  renewal  in  ACL.  I  can't  af- 
ford to  be  without  it. 

A.  T.  Wilson,  ACL 
Cleveland.  Miss. 


Questions  ^j 

LiiiiiiiBiBaaiBiiiiuiim 

Answers 


Readers  are  invited  to  submit  basic  problems  of 
general  interest  for  answer  in  this  column.  Replies 
by  letter  to  individuals  must  be  reserved  for  mem- 
bers of  the  Amateur  Cinema  League.  Address : 
Questions  &  Answers,  c/o  Movie  Makers. 


LAMP   CORRECTION 

Gentlemen  :  In  your  column  of  the  No- 
vember issue,  under  the  heading,  New 
No.  1  Photoflood,  you  make  the  state- 
ment that  the  No.  1-A  Photoflood  is 
designed  to  burn  on  105  volts.  You 
further  state  that  this  bulb  will  burn 
less  brightly  on  115-120  volts. 

This  certainly  does  not  appear  to  be 
consistent  with  my  understanding  of 
any  present  incandescent  lamps.  If  the 
lamp  was  designed  to  burn  on  105  volts, 
its  use  in  a  115-120  volt  circuit  should 
increase  the  lumen  value,  color  tem- 
perature and  current  drain.  Which  one 
of  us  is  right?  C.  E.  Maass,  ACL 

Crestwood,  N.  Y. 

Member  Maass  is  right  by  a  country 
mile.  The  reactions  he  claims  for  a  105  volt 
lamp  burned  on  a  115-120  volt  circuit  are 
correct  on  every  count — and  they  are,  in 
fact,  those  we  had  intended  to  state  our- 
selves. Sometimes  there  simply  is  no  ex- 
plaining this  inverted  type  of  editorial 
error. 

THE  MERCURY  TREATMENT 

Dear  Movie  Makers:  I  am  interested 
in  taking  some  scenes  of  indoor  sports 
(wrestling,  boxing,  basketball)  on  Type 
A  Kodachrome  and  with  an  f/1.9  lens. 
I  understand  that  by  exposing  the  film 
to  mercury  (is  it  before  or  after  pic- 
ture taking?)  it  is  possible  to  increase 
the  film's  rated  speed  and  thus  bring 
out  a  better  image.  Can  you  advise 
more  fully? 

E.  E.  Sercu 
Rochester.  N.  Y. 

The  manipulation  you  refer  to  is 
known  as  hyper-ssnsitizing,  and  argu- 
ments concerning  it  have  been  batted 
about  in  photographic  circles  for  years. 
While  it  is  true  that  a  certain  increase  in 
sensitivity  is  created  in  any  photographic 
emulsion  by  exposing  it  to  mercury  vapor 
(before  picture  taking),  the  weaknesses 
of  the  method  are  these: 

(1)  There  is  no  way  of  gauging  how 
long  to  expose  the  emulsion  to  the  mer- 
cury fumes;  (2)  there  is  no  way  of  gaug- 
ing how  much  hyper-sensitizing  takes 
place;  (3)  there  is  no  way  of  gauging 
how  long  this  hyper-sentitizing  will  last 
.    .    .    The    process    is    not    recommended. 


RADIANT 

4-way  bettei 

SCREEN 


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considering  purchasing  a  new  modern 
screen  for  the  first  time — Radiant's 
"Vyna-Flect"  Screen  Surface  protects 
you  against  the  dulling  fog  of  discol- 
oring, fading,  yellowing  and  dirt. 
Movies  or  stills  stand  out  with  unu- 
sual snap,  clarity  and  contrast.  Colors 
are  clear,  brilliant  and  true.  Images 
seem  to  j-u-m-p  out  of  the  screen. 
Here's  why: 

A  Really  Improved  Screen  Fabric 

The  new  "Vyna-Flect"  screen  fabric  is 
made  by  an  exclusive  Radiant  proc- 
ess. Millions  of  tiny  mirror-like  beads 
reflect  light  instead  of  absorbing  it — 
which  assures  you  the  brightest,  clear- 
est pictures.  This  surface  is  mildew- 
proof  and  ivasbable,  so  that  you  always 
have  a  perfect  projection  surface. 

Send  for  FREE  BOOK 

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crammed  with  practical  infor- 
mation on  how  to  get  the 
best  projeciton  under  all 
conditions.  At  the  same 
time  we  will  send  you  a 
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RADIANT 

PROJECTION      SCRE IN S 


44 


FEBRUARY   1951 


U.  S.  Pat.  No.  2260368 


GOERZ  AMERICAN 

APOGOR 

F:2.3 

the  movie  lens  with  microscopic 
definition  successful  cameramen 
have  been  waiting  for— 


A  new  six  element  high  quality  lens  for  the  16  and 
35  mm  film  camera.  Corrected  for  all  aberration  at 
full  opening,  giving  highest  definition  in  black-&- 
white  and  color.  Made  by  skilled  technicians  with 
many  years   of  optical  training. 


Fitted  to  precision  focusing  mount  which  moves 
the  lens  smoothly  without  rotating  elements  or 
shifting   image. 


This    lens   comes   in    C    mount    for    16    mm    cameras. 
Fitting  to  other  cameras  upon  special  order. 


Sizes    available    now:     35    and    50     mm    uncoated 
and  75  mm  coated. 


Write    for   prices,   giving   your   dealer's   name. 


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GRANDMA  MOSES,  in  a  scene  enlarged  from 
the  16mm.  film  of  that  name,  takes  a  purpose- 
ful look  at  one  of  her  latest  primitive  pictures. 

You  will  scarcely  need  us  to  tell  you 
who  that  lovely  old  lady  is,  so  intent 
on  her  painting.  Grandma  Moses,  of 
course!  The  point  is  that  we  enlarged 
the  still  shot  directly  from  a  16mm. 
Kodachrome  short  subject  on  this  pep- 
pery primitive,  recently  completed  by 
Erica  C.  Anderson  and  now  making  the 
rounds  of  the  art  theatres  on  35mm. 
Technicolor.  Others  engaged  on  the 
production  were  Jerome  Hill,  director; 
Hugh  Martin,  music;  Alec  Wilder,  or- 
chestration, and  Archibald  MacLeish, 
narration. 

Just  in  passing,  we'll  bet  you  don't 
know  Grandma  Moses's  real,  full  name. 
Give  up?  It's  Anna  Mary  Moses,  nee 
Robertson.  Try  that  on  your  quiz- 
minded  friends,  sometime. 

That  handsome  home  theatre  you  see 
pictured  on  page  51  might  well  be 
called  "the  house  that  popcorn  built." 
For  A.  C.  Hugh,  ACL,  is  practically 
the  popcorn  baron  of  the  British  Isles, 
having  built  up  that  business  in  twenty 
years  until  his  five  and  a  half  acre 
plant  is  now  the  largest  single  popcorn 
producing  unit  in  the  world  .  .  .  Should 
make  it  nice  for  his  movie  guests. 

A  few  months  ago,  in  The  Reader 
Writes  column,  Solomon  Kessler,  ACL, 
of  Portland,  Maine,  suggested  that  we 
run  brief  personality  portraits  of  League 
members  from  here  and  there  so  we 
could  all  get  better  acquainted.  And  so, 
naturally,  we  suggested  that  he  start 
the  ball  rolling — which  he  has  done  as 
follows  (Mr.  K.  now  has  the  mike). 
"I  am  now  29,  was  born  and  schooled 
in  Richmond,  Va.,  and  came  to  Maine 
about  ten  years  ago.  After  working  at 
various  positions — including  the  ship- 
yards— I  went  into  the  merchant  marine 
from  1943  to  1946.  Getting  out  of  that 
service  in  1946,  I  successively  married 
a  Maine  girl,  bought  a  grocery  store 
and  fathered  a  baby  girl,  now  4  years 
of  age.  I  took  up  amateur  movies  only 
a  little  over  a  year  ago,  but  now  have 
a  Revere  8mm.  model  60  turret  maga- 
zine  camera,   a    Revere   projector    and 


most  of  the  accessories  to  accommodate 
same.  All  fellow  hobbyists  interested 
in  starting  a  movie  club  in  this  area 
are  invited  to  get  in  touch  with  me  at 
87  Lancaster  Street,  Portland  3,  Me." 
Over  and  out  for  Brother  Kessler. 
This  department  will  welcome  similar 
reports  (and  a  picture)  from  readers 
and  members  everywhere. 

We  are,  frankly,  mighty  darn  proud 
to  tell  you  that  the  November  number 
of  Movie  Makers  was  given  an  Award 
for  Special  Merit  in  the  recent  11th 
Exhibition  of  Printing  held  by  the  New 
York  Employing  Printers  Association 
in  the  Hotel  Biltmore.  More  or  less 
alongside  us  on  the  display  walls  were 
such  diverse  companions  as  the  N.  Y. 
Times  Magazine,  Art  News,  Esso  Oil- 
ways  and  The  Tale  of  the  Nude. 

Credit  for  this  honor  should  be 
shared  equally  by  Anne  Young,  ACL, 
production  editor  of  this  mag,  and 
Western  Newspaper  Union,  the  printers 
of  same. 

Our  days  have  been  considerably 
brightened  of  late  by  the  beauteous 
South  Pacific  belles  in  the  movies  and 
transparencies  sent  to  us,  by  way  of 
Rochester,  by  Chris  E.  Hansen,  ACL, 
currently  in  Indonesia  on  business. 
Since  it  will  still  be  some  time  before 
Mr.  Hansen  has  a  chance  to  look  at 
these  pictures  himself,  we  feel  quite 
privileged  to  have  this  preview  of  them. 

The  dates  for  this  year's  annual  Natchez 
Pilgrimage  will  be  March  3  through 
April  1,  and  if  you  haven't  caught  this 
hoop-skirted  pageant,  we  recommend 
it  to  you  and  your  camera.  Detailed 
filming  directions  were  carried  in  Wel- 
come to  Natchez,  in  Movie  Makers  for 
February,  1949.  Back  copies  are  still 
available  at  35  cents  per. 


u 


SOLOMON  KESSLER,  ACL,  of  Portland,  Me.,  sets 
the  personality  page  rolling  with  a  pocket- 
sized    profile    of    himself    presented    herewith. 


45 


Photographs   by   William   L.   Lucas 


"HERE'S  HOW  IT'S  DONE,"  says  Dad  in  the  second  scenario,  as  he  out- 
does the  kids  in  hand-painting  an  Easter  egg.  Note  how  simple  back- 
ground   and    cross    lighting    concentrate    attention    on    subject's    action. 


IDEAS  FOR  EASTER 


Here  are  three  simple  film  plans  for  picturing  this  spring  holiday 


THAT  lone  crocus  popping  up  through  the  cold  ground 
out  in  your  front  yard  means  that  the  Easter  season 
is  coming.  In  most  of  the  country  Easter  is  a  colorful 
time  of  the  year.  There's  forsythia,  pussywillow,  Easter 
eggs,  magnolia  and  Milady's  bonnet.  Yes,  it's  a  season 
when  once  again  color  film  can  do  justice  to  your  movie 
scenes;  so  let's  load  our  cameras  and  look  around  for 
ideas. 

If  you  are  a  parent,  you'll  naturally  want  to  take  some 
movies  of  the  kids'  annual  egg  hunt  after  the  Bunny's 
arrival.  We'll  presume  that  your  child — or  children — 
still  believes  in  the  Bunny  and  present  a  short  continuity 
accordingly.  This  script  is  merely  intended  as  a  spring- 
board— something  which  you  can  amend  according  to 
the  size  of  your  family  or  the  amount  of  film  you  wish 
to  shoot. 

"THE  EGGS  AND  I" 

It  is  a  peaceful  living  room  scene.  You  are  reading 
the  paper  while  Mary,  your  wife,  is  darning  some  socks. 
Jimmy,  the  offspring,  is  playing  on  the  floor.  Suddenly 
Jimmy  gets  up,  tugs  on  your  sleeve  and  asks,  "Daddy, 
do  bunnies  lay  eggs?" 

You  smile  indulgently,  shake  your  head  and  motion  for 
Sonny  to  continue  playing.  You  return  your  attention  to 
your  paper,  but  he  tugs  at  your  sleeve  again. 

"Then  where  do  Easter  eggs  come  from?"  he  asks. 

You  start  to  reply,  then  realize  that  you  don't  know 
the  answer.  "Uh — I'm  busy,  Jimmy,"  you  finally  tell  him. 

Jimmy  ponders  this  inadequate  reply  for  a  moment, 
starts  to  play  again,  but  finally  comes  back  to  your  chair 
once  more. 

"Daddy,"  he  asks,  "how  can  the  Easter  Bunny  carry 
so  many  eggs?" 

You  glance  at  your  watch  and  say,  "Time  for  bed, 
Jimmy." 

Jimmy  tries  to  argue  the  decision,  but  you  motion  for 


WILLIAM    L.    LUCAS 

Mary  to  come  and  get  him.  He  bids  a  reluctant  good- 
night, then  you  settle  down  in  solitude  with  your  paper 
again.  But  you  can't  concentrate,  and  you  lay  the  paper 
aside,  scratch  your  head  and  yawn.  A  moment  later  Mary 
returns  to  the  room,  comes  over  to  your  chair  and  says: 

"Don't  stay  up  too  late — tomorrow's  Easter." 

You  shake  your  head,  yawn  again,  then  she  leaves  the 
room.  Soon  your  head  is  nodding  and  you  are  asleep. 

A  dream  sequence  follows  wherein  a  closeup  of  you 
lap-dissolves  into  a  closeup  of  a  toy  Easter  Bunny.  This 
is  followed  by  ultra  closeups  of  apparently  dozens  and 
dozens  of  eggs,  all  beautifully  colored.  Then  appear  rows 
of  various  Easter  candies,  Easter  baskets  and  toys.  Finally 
there  is  another  closeup  of  the  toy  Easter  Bunny,  which 
lap-dissolves  into  a  closeup  of  you,  still  asleep.  On  your 
lap  and  on  the  arms  of  your  chair  are  the  toy  Easter 
Bunny,  colored  eggs,  candies  and  toys.  Jimmy  comes 
walking  into  the  room,  dressed  in  pajamas,  rubbing  his 
eyes  as  though  he's  just  awakened.  He  crosses  to  your 
chair,  sees  all  the  Easter  presents  and  is  greatly  excited. 
He  lets  out  a  shout,  and  you  awaken  with  a  start.  You 
are  perplexed  as  you  see  yourself  surrounded  with  the 
eggs  and  candy.  Glancing  at  your  watch,  you  see  that  it 
is  six  forty-five. 

Jimmy  grins.  "Now  I  know  where  the  Easter  eggs 
come  from,"  he  says. 

You  smile  weakly.  Mary  enters  the  room  in  her  dress- 
ing gown.  All  three  of  you  join  in  the  fun.  When  Jimmy 
isn't  looking  you  point  at  all  the  Easter  eggs  and  whisper 
to  your  wife,  "Did  you  do  all  this?" 

Slowly  she  shakes  her  head  no.  You  shrug,  then  pick 
up  the  toy  Easter  Bunny  and  inspect  him  carefully.  This 
scene  fades  into  a  later  scene  in  the  living  room.  By  now 
the  toy  Easter  Bunny  looks  somewhat  bedraggled.  Jim- 
my is  playing  on  the  floor,  eating  some  candy.  Empty 
Easter  baskets  are  strewn  about,  but  no  eggs  are  in  sight. 

Jimmy  stands  up.  walks  over       [Continued  on   page  66] 


46 


WHAT'S  WRONG  WITH  MY  ANGLE? 

Are  your  camera  angles  ordinary,  eye-level  and  uninteresting? 

Pore  over  these  pictures  and  you'll  find  out  how  to  improve  them 

Photographs   for   MOVIE  MAKERS    by    ERNEST     H.     KREMER,     ACL 


Jl  NY  of  you  baffled  button  pushers  remember  some 
M*^  articles  we  ran  last  year  called  What  s  Wrong 
9  »  With  My  Picture?  Presented  in  three  installments 
(May,  June  and  July),  the  series  probed  pictorially  into 
the  symptoms,  causes  and  cures  of  some  fourteen  different 
movie  maladies. 

Technical  troubles,  mostly:  over  and  underexposure, 
faulty  focus,  dirty  camera  gate,  edge  fog,  parallax  cut-off. 
that  sort  of  thing.  Ernie  Kremer  did  the  pictures  (which 
were  the  real  meat  of  the  matter )  and  yours  truly  did  the 
copy  and  captions,  and  as  far  as  we  can  tell  the  series  did 
some  people  some  good,  judging  by  the  letters  we  received 
at  ACL. 

But  Ernie  wasn't  satisfied  to  rest  on  his  laurels.  "Jim," 


he  said,  "you  think  these  things  are  all  that's  wrong  with 
amateur  movies?"  "Well-1-1,"  we  hedged.  "You  see  a  heck 
of  a  lot  of  films,"  Ernie  persisted,  "in  the  Ten  Best  contest 
and  stuff?"  We  nodded.  "Most  of  them  well  exposed?" 
(nod)  "Most  of  them  sharp  and  pretty  steady?"  (nod) 
"Much  edge  fogging  or  dirty  camera  gate?"  We  shook 
our  head. 

"Then  what  the  heck  is  wrong  with  them?"  Ernie 
exploded.  "Well-1-1."  we  stalled,  "sometimes  they  all  just 
seem  to  look  alike."  Ernie's  eyes  gleamed.  "Same  old 
scenes?"  he  said,  (nod)  "Same  old  angles?"  (nod) 
"That's  if!"  he  said.  "Look,  I'll  make  up  some  pictures 
and  show  you!"  And  so  he  did.  The  pictures  are  here, 
and  they  sure  show  us.  How  about  you? — J.W.M, 


EYE-LEVEL  AND  ORDINARY  is  this  head-on  shot  from  stand- 
ing position  at  15  feet.  Note  bad  background  and  balance. 


SIX  FOOT  STEPLADDER  and  a  25  foot  move  to  right  create 
this  pleasing  diagonal  composition  and  clear  background. 


THE  CAPERING  KIDS  are  almost  lost  against  the  cluttered 
background  of  trees  and  homes.  Standing  shot  at  30  feet. 


DOWN  ANGLE  FROM  ATTIC,  a  20  foot  elevation,  and  a 
swing  to  left  now  reveal  the  youngsters  against  the  lawn. 


47 


ADEQUATE  BUT  UNORIGINAL  is  this  front  lighted  shot  from 
a    standing    position    at    15   feet.    Boys   seem    lost   in    setting. 


AN  UPWARD  ANGLE,  from  ground  level  and  at  10  foot  dis- 
tance, dramatizes  the  actors  and  action.  Side  lighting  helps. 


ill  iwji 


SQUARE  AND   SQUATTY   is  this   head-on,   humdrum   shot  of 
a    modern   school.    Chimney    line   throws   scene    off    balance. 


STILL  SAME  SCHOOL,  but  camera  has  moved  75  feet  to  left 
and    only    25    feet    away.    Up    angle    clinches    composition. 


A  STANDING  POSITION  at  200  feet  creates  split  composition, 
bad  foreground  and  the  clutter  of  light  pole  and  siren  tower. 


ONLY  75  FEET  TO  RIGHT  of  building  at  knee  level  our  cam- 
eraman   found    this    compact    composition,    clearing    picture. 


48 


TAKE  IT  EASY  WITH  INDIANS! 


says  ELMER    W.    ALBINSON,    ACL 


NORTH  or  south,  east  or  west,  haste  not  only  makes 
waste  when  filming  Indians,  but  it  may,  on  occasion, 
even    prove    dangerous.    I    recall    vividly    one    ex- 
perience in  the  Andes  Mountains. 

Stepping  out  of  my  car  on  the  side  of  the  road,  I  began 
to  make  movies  of  a  group  of  women  washing  clothes 
in  a  nearby  mountain  stream.  They  disliked  my  intrusion. 
I  could  sense  this  at  once,  and,  balked  by  their  non- 
cooperation,  I  soon  gave  up  trying  to  complete  the 
sequence.  But  it  was  not  until  weeks  later  that  I  discovered 
how  dangerous  the  situation  had  been.  For  then,  in  my 
processed  film,  I  noticed  a  man  standing  alongside  the 
women,  observing  me  with  hostility.  Surreptitiously  he 
drew  a  revolver  from  his  unbuttoned  jacket  and  kept 
holding  the  weapon  under  concealment.  Ever  since  noting 
this,  my  approach  in  filming  Indians  has  slowed  up  con-, 
siderably. 

ADVANCE  INFORMATION  IMPORTANT 
Knowing  how  to  "reach"  them — not  merely  in  the 
geographical  sense — should  be  of  vital  concern  to  you. 
Gather  all  the  information  you  can  about  your  prospective 
location  and  its  inhabitants.  A  start  toward  such  informa- 
tion, including  the  names  of  key  people,  may  sometimes 
be  obtained  at  the  nearest  American  consulate.  The  Amer- 
ican consul  in  Ecuador,  for  example,  gave  me  good  direc- 
tions for  getting  into  the  jungles  of  the  Upper  Amazon. 
Oftentimes  the  local  Chamber  of  Commerce  is  your  best 
bet.  The  Gallup,  New  Mexico,  Chamber  was  of  very  great 
help  to  me  in  reaching  the  Navajo  Indians.  Similarly,  the 
Indian  Agency,  in  Dania,  Florida,  was  most  obliging  in 
giving  me  advice  regarding  the  possibilities  of  filming 
the  Seminole  Indians.  Once  on  the  spot,  you  must  make 
your  own  contacts  with  the  "right"  people.  No  one  else 
can  advise  you  on  that  score. 

Whenever  first  entering  an  Indian  encampment.  I  never 
show  my  camera.  I  merely  loiter  about,  ask  questions  and 
try  to  get  acquainted.  If  someone  speaks  English,  my 
questions  will  soon  be  answered;  for  my  first  aim  is  to 
seek  out  the  Chief  and  win  his  confidence.  Usually  he  is 
the  one  to  decide  whether  photography  will  be  permitted. 
He  may  also  prove  to  be  a  good  movie  director,  holding 
his  people  against  objections  and  instructing  them  to 
continue  the  activities  of  the  moment  without  staring  at 
the  camera. 


DISTRACTIONS  BREAK  TENSION 

Distraction  is  a  good  way  to  gain  a  friendly  reception. 
Sometimes  this  may  come  about  without  advance  plan- 
ning. I  shall  never  forget  my  first  approach  in  a  dugout 
canoe  to  a  Seminole  village  in  the  Florida  Everglades. 
The  canoe  started  to  vibrate.  I  held  my  seat  and  my 
breath,  trying  also  to  hold  my  balance  as  we  took  in 
water  over  the  sides.  The  Indian  paddler  standing  behind 
me  sought  to  steady  the  craft.  He  did,  but  meanwhile  a 
great  laughter  at  our  distress  went  up  from  the  village. 
These  people  like  to  be  left  alone,  but  this  hilarious  inci- 
dent broke  down  their  reserve  and  subsequently  made 
the  filming  easier. 

On  at  least  one  occasion  my  wife  inadvertently  served 
the  same  purpose.  To  the  Jivaro  Indian  women  of  the 
Upper  Amazon  she  was  a  curious  spectacle.  They  chat- 
tered like  magpies  as  they  inquisitively  fingered  her  jew- 
elry. I  fear  that  even  the  men  considered  her  less  than 
attractive,  to  put  it  mildly.  She  is,  you  see,  on  the  slender 
side — and  they  like  their  women  plump. 

In  creating  a  distraction,  I  always  enjoyed  working 
with  my  artist  brother,  Dewey.  He  would  find  his  first 
composition  some  distance  from  an  Indian  camp.  While 
drawing,  he  soon  would  collect  a  group  of  curious  chil- 
dren. Then  the  adults  would  slowly  come  forward  for 
their  peek.  After  a  short  time,  sometimes  a  few  hours, 
we  were  chatting  informally.  Candy  for  the  children  helps 
to  win  their  hearts;  knowing  a  few  words  of  their  lan- 
guage also  made  them  warm  up  to  us.  Eventually,  they 
began  to  realize  we  were  not  there  to  make  fun  of  them, 
but  were  seriously  interested  in  their  way  of  life. 

During  the  getting-acquainted  period,  I  would  observe 
closely  what  activities  were  of  interest  and  begin  mentally 
to  plan  my  film.  Finally,  when  the  time  came  to  make 
movies,  I  would  pull  my  camera  out  of  the  case  and  load 
it  with  film  before  their  eyes.  They  seemed  to  enjoy  seeing 
the  mechanism  work,  for  the  mystery  of  the  camera  box 
was  revealed. 

BE  RELAXED  YOURSELF 
Familiarity  with  your  equipment  and  with  every  phase 
of  its  operation  is  of  primary  importance  in  filming  any 
more  or  less  primitive  people.  If  you  fuss  and  fiddle  in 
making  your  setup,  the  delay  will  bore  them,  and  your 
own    uncertainty   will   lead   to   uncertainty   and    distrust 


LONG  AND  MEDIUM   SHOTS   precede   these   dramatic   closeups   in   the 
doll    making    sequence   cited— but   it's   the    closeups   which   count.    Down 


angle    (left)    shows    palmetto    fibre    form    of    doll;    up    angle    (center) 
illustrates    delicate    finger    work,    with    child    reaction    shot    for    drama. 


49 


16mm.  scenes   by   Elmer  W.  Albinson,   ACL 


PROUD    BUT   PICTORIAL    is   this    cameo    closeup    of   a    Seminole    Indian 
chief,    only    just    willing    to    be    filmed.    Two-shot   of    Betty   Jumper   and 


blind    Mary   Tiger   contrast   youth    and    age    dramatically,    while    only   a 
closeup  of  alert  Anny  Tommy  could   reveal  her  calm  and  piercing  eyes. 


A  TOURIST   TRADE    ITEM,   sweet-grass   basket   weaving    is   another   out- 
standing   sequence    in    this    Seminole    documentary.    Although    sulky    at 

on  their  part.  All  technical  decisions  should  be  second 
nature,  so  that  your  major  efforts  may  be  concentrated 
on  winning  their  confidence. 

It  is  well,  also,  to  keep  your  equipment  simple  and  its 
use  inconspicuous.  Tape  measure  focusing,  for  example, 
is  out  of  the  question,  as  is  a  direct  exposure  reading 
on  an  Indian's  face  or  person.  For  the  former.  I  estimate 
the  distance,  while  for  the  latter  I  use  my  gray  felt  hat 
in  lieu  of  the  recommended  gray  card  system.  For  maxi- 
mum steadiness,  of  course,  a  tripod  is  essential,  and  the 
Indians  seem  to  get  used  to  it.  But  for  a  quick  and  difficult 
angle  shot,  I  do  not  hesitate  to  hand-hold  my  camera. 

PREFER  1  INCH  LENS 
As  for  lenses,  my  favorite  by  far  is  still  the  1  inch  f/1.9 
focusing  objective  which  is  standard  with  my  Cine-Kodak 
Model  K.  Although  I  have  a  telephoto  lens,  I  seldom  use 
it,  since  I  do  not  take  "sneak"  shots  of  the  Indians.  You'll 
get  better  results  by  winning  their  confidence,  so  that 
you  may  then  move  in  with  your  normal  lens  without 
offending  them.  I  find  that  both  my  compositions  and  my 
angles  are  more  effective  with  the  standard  lens  close  in 
than  with  the  telephoto  from  a  distance.  All  of  the  close- 
ups  on  these  pages  were  filmed  with  the  1  inch  lens — often 
at  a  distance  of  only  2  feet. 

SCENE  AND  SEQUENCE 
My  approach  to  an  Indian  subject  varies.  If  their 
activities  en  masse  are  important  pictorially — as  in  a 
dance  sequence — I  film  an  adequate  amount  of  footage 
in  medium  shot,  as  well  as  in  closeup.  If  the  activity  to 
be  pictured  is  an  individual  one — as  in  the  doll-making 

The  producer  of  "Seminole  Indians,"  a  Ten 

takes  leaves  from  his  no 


the  thought  of  being  filmed,   the  woman   continued    her  work   under  a 
chief's   direction.   Closeup   of   native    jewelry  was   made  on   right   hand. 

sequence  illustrated — I  follow  the  standard  sequencing 
pattern:  a  long  shot  to  establish  the  setting,  a  medium 
shot  to  set  up  the  action,  and  then  almost  innumerable 
closeups  to  emphasize  clearly  what  is  going  on. 

In  my  closeup  filming  of  Indian  activities,  I  try  as 
far  as  possible  to  picture  them  in  full  sunlight.  In  this 
way,  there  will  be  less  change  in  your  exposure  (although 
it  should  be  checked  hourly),  and  the  definition  of  detail 
will  be  sharper  and  more  sparkling.  Often,  if  the  handi- 
craft in  question  is  not  in  exactly  the  right  light,  a  simple, 
courteous  request  on  your  part  will  get  it  moved  into  the 
desired  illumination. 

It  is  well  to  remember,  also,  that  even  in  filming  an 
interesting  Indian  activity,  the  activity  itself  may  not 
make  up  the  entire  sequence.  Search  out  the  human  in- 
terest aspects  of  what's  going  on — the  intense  concentra- 
tion on  the  face  of  the  artisan,  the  bland-eyed  boredom 
of  a  watching  child.  As  cut-ins  with  your  main  stream 
of  activity,  these  scenes  are  invaluable. 

THE  CLOSEUPS  COUNT 
I  cannot,  I  feel  sure,  stress  too  strongly  the  importance 
of  this  closeup  coverage.  For,  in  my  experience  (as,  I  am 
sure,  in  yours),  far  too  many  amateur  filmers  overlook 
the  tremendous  dramatic  force  of  the  true  closeup.  For 
one  thing,  they  seem  hesitant  about  poking  their  cameras 
in  a  stranger's  face.  This  is  a  sound  attitude,  as  I  have 
been  trying  to  point  out,  in  the  case  of  most  Indian  people. 
However,  when  they  regard  you  no  longer  as  a  stranger, 
the  finest  closeup  filming  can  be  amicably  arranged. 
Secondly,  I  suspect  that  some  filmers  (unwittingly, 
perhaps)    care  more  about  the  dignity  of  their  persons 

than  they  do  about  the  drama 

Best  winner,  f  their  Pi(;tures;  Therff  is'  l 

fear,   no   place   for   selt-con- 
tebook   of   native    lore  [Continued   on    page  65] 


50 


The   Clinic 


TITLES   FROM   TOY   STORE 

Are  you  looking  for  an  easy  and 
inexpensive  way  of  setting  up  some 
attractive  lead  titles?  Then  hie  your- 
self out  to  the  toy  department  of  the 
nearest  dime  store.  I  recently  found 
there  netted  string  bags  of  colorful 
cardboard  letters  at  39  cents  per  bag. 
Two  bags  and  you're  in  business. 

The  letters  are  IV2  inches  wide 
and  2%  inches  high  in  their  outside 
dimensions.  In  use,  they  can  be 
Scotch-taped  to  a  card  or  simply 
laid  out  on  the  floor.  Two  of  my  most 
attractive  titles  were  shot  outdoors, 
one  on  a  leafy  sidewalk,  the  other 
on  a  slab  of  marble. 

Dolores  Pellarin,  ACL 
St.  Louis,  Mo. 

MANY  AMATEURS  are  disappointed 
with  their  movies  because  they  use  their 
cameras  like  a  box  camera,  taking  snap- 
shots rather  than  planned  and  related 
series  of  scenes. 

*  *      * 

IF  YOU  HOPE  to  sell  any  of  your  film 
footage  for  commercial  use,  it  would  be 
wise  to  have  a  duplicate  made  for  home 
projection.  Then  your  original  will  not 
collect  dirt  or  scratches. 

IN  EDITING  YOUR  FILM,  a  handy 
device  to  indicate  sections  of  film  to  delete 
is  an  ordinary  paper  punch.  Use  it  to  mark 
the  beginning  and  end  of  scenes  that  you 

wish  to  cut  out. 

*  *      * 

REELS    INTO    RACK 

Out  here  in  Israel,  where  I  am 
busy  filming  a  documentary  of  our 
country,  one  learns  quickly  to  im- 
provise when  needed  equipment  is 
not  available.  Thus  it  was  that  I 
worked  out  a  method  of  making  a 
couple  of  projection  reels  into  a  de- 
veloping rack. 

The  type  of  reel  necessary  is  the 
Bell  &  Howell  (or  a  similar  design), 


DEVELOPING    RACK,    created    from    two    1600 
foot  reels  and  dowels,  is  mounted  on  rewinds. 


in  which  the  outer  edges  of  the  flanges 
are  perforated  with  small  holes.  In 
the  B  &  H  line,  this  design  is  carried 
out  in  their  800,  1200  and  1600  foot 
models,  so  that  the  size  used  can  be 
adapted  to  your  footage  needs. 

My  version  of  the  developing  rack 
uses  the  1600  foot  reels,  one  compris- 
ing each  end  of  the  unit.  Also  needed 
are  eight  ^  inch  wooden  dowels  and 
a  pair  of  rewinds.  The  dowels,  14 
inches  in  length,  are  inserted  in  the 
holes  in  the  reels  to  create  slats,  and 
the  improvised  rack  is  mounted  at 
each  end  on  the  rewind  spindles. 
During  developing  and  washing,  the 
rewinds  are  turned  slowly.  During 
the  drying  period,  it  helps  to  turn 
the  rack  swiftly,  thus  throwing  off 
the  moisture.  The  entire  rig  can  be 
set  up  or  knocked  down  in  less  than 
five  minutes. 

Yisrael  M.  Cohen,  ACL 

Tel  Aviv,  Israel 

*  *     * 

IN  FILMING  INTERIORS,  work  for 
simplicity  as  much  as  possible.  Too  much 
furniture,  like  too  complicated  action,  can 
make  the  scene  confusing  to  your  audience. 

LENS  EXTENSION  TUBES,  for  ex- 
treme closeups,  should  be  used  only  if 
your  camera  is  equipped  for  visual  focus- 
ing and  framing.  Otherwise,  your  pictures 
will  more  than  likely  be  out  of  focus. 

*  *      * 

NEVER  TRY  TO  MAKE  telephoto 
scenes  without  having  a  steady  support 
for  your  camera.  A  telephoto  lens  mag- 
nifies movement  of  the  camera  as  well  as 
the  picture  image. 

*  *      * 

IN  FILMING  PARADES  and  other 
outdoor  subjects  you  often  may  wish  to 
include  a  broader  view  than  an  ordinary 
lens  will  permit.  A  wide  angle  lens  is 
specially  designed  for  this  purpose. 

EASY   EXPOSURE    INCREASE 

In  filming  sunsets  one  usually  in- 
creases the  exposure  as  the  sunset 
gets  progressively  dimmer  and  finally 
fades  out.  These  changes  in  lens  open- 
ing may  extend  all  the  way  from 
//16  to  //2,  which,  when  spaced  out 
over  a  single  framed  scene  of  500 
frames  or  more,  means  that  the  ap- 
propriate changes  in  diaphragm  are 
very  small  and  difficult  to  make 
smoothly. 

On  any  camera  having  a  conti- 
nuous shutter-speed  adjustment,  such 
as  the  Bolex  H  models,  one  can 
change  the  shutter  speeds  far  easier 


Pictures,  plans  and  ideas  to 
solve  your  filming  problems 

than  the  /  numbers.  For,  the  corre- 
sponding distance  through  which  the 
shutter-speed  indicator  will  be  moved 
(64  to  8  fps)  is  much  greater  than 
for  the  /  stops. 

The  same  system  may  be  adapted 
to  other  filming  situations  where 
either  a  progressive  increase  or  de- 
crease of  exposure  is  desired.  It  is 
not  likely,  however,  to  be  suitable 
where  there  is  much  motion  in  the 
scene,  because  of  the  speeding  or 
slowing  effect  such  shutter  speed 
changes  create. 

Roland  Beach 
Rochester,  N.  Y. 

PLANNING  SOME  MOUNTAIN 
PICTURES?  Remember  that  often  the 
best  pictures  are  made  either  early  or  late 
in  the  day,  when  the  shadows  add  interest 
to  the  scenery. 

*      *      * 

NEW   LAMPS,    BEST   COLOR 

Although  the  invaluable  photoflood 
lamp  has  a  rated  life  of  from  3  to  6 
hours  (depending  on  whether  it  is 
a  No.  1  or  No.  2),  the  critical  color 
filmer  should  keep  in  mind  that  both 
the  intensity  and  color  temperature 
of  the  light  changes  with  age.  Thus, 
for  scenes  requiring  accurate  color 
values  or  an  accurate  matching  of 
color  values  with  existing  footage, 
it  is  safer  to  employ  relatively  fresh 
lamps. 

The  older  lamps,  however,  are  far 
from  useless.  They  can  be  used  in 
title  filming  excellently,  since  accu- 
rate color  values  are  not  important. 
Further,  the  lowered  intensity  of  the 
light  may  be  compensated  for  either 
by  placing  the  lamps  closer  to  the 
card  or  by  shooting  at  12  or  8  fps. 
Herbert  A.  MacDonough,  ACL 
Binghamton,  N.  Y. 


CONTRIBUTORS  TO 

The  Clinic  are  paid  from  $2.00  to  $5.00 
for  ideas  and  illustrations  published. 

Your  contributions  are  cordially  in- 
vited. Address  them  to :  The  Clinic, 
Movie  Makers,  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


Please    do    not    submit    identical     items    to 
other    magazines. 


51 


GOLD    SATIN    CURTAINS,    a    proscenium    and    stage    in    sycamore,    with 
columns  and  fountain  in  orchid   pink,   comprise  screen   end   of   Kin-Attic. 

PROJECTION    ROOM  equipment  (right)   includes   16mm.   sound    projector 
and     four-rheostat     light     control     panel     creating     ten     varied     effects. 

Third -floor  theatre 

A.    C.    HUGH,    ACL 

IT  WAS  probably  my  habit  of  using  the  ironing  board  and 
five  volumes  of  the  Encyclopaedia  Britannica  as  a  living- 
room  projection  stand  which  was  responsible  for  the  creation 

of  "Kin-Attic."  our  cine  theatre  in  the  attic.  If  so,  I  am  gen- 
uinely grateful  to  my  wife  for  her  suggestion  that  I  "take  all 

my  toys  up  to  the  attic!" 

I  knew,  of  course,  that  we  had  a  long  and  spacious  garret, 

but  its  true  potentialities  as  a  home  cinema  had  never  occurred 

to  me.  Then,   as   I   surveyed  its  sixty  foot  length,  this  empty 

space  began  to  take  shape.  Three  months  later  it  was  trans- 
formed into  a  Tudor  cocktail  lounge,  a  twenty  five  seat  theatre 

and  a  complete  projection  room. 

Let's  take  the  projection  room  first,  since  that  is  the  heart 

of  any  home  theatre.  As  will  be  seen  in  the  two  illustrations. 

once  committed  to  taking  my  tovs  up  to  the  attic,  I  gave  the 

matter  a  real  "old  college  try."'  The  projector  is  a  Filmosound 

Model  601.  which  plays  through  one  of  two  12  inch  speakers 

behind  the  screen.  Beneath  the  projector  are  the  four  variacs 

and  switch  panels  which  control  the  house  and  stage  lighting. 

permitting  a  total  of  ten  different  effects. 

At  the  right  of  the  projector  stand  is  my  disc  sound  unit, 

comprised   of  three   turntables   with  separate   sapphire   crystal 

pickups.  These  feed  into  a  valve  mixer  and  amplifier  by  Vor- 

texion  and  plav  through  the  second  of  the  two  speakers.  The 

microphone  is   used  to   mix  live  commentary  with  the  music 

from  any  one  of  the  tables. 

Above   this  disc   sound   unit  are  twin   monitor  speakers,  to 

guide  the  operator  on  the  sound  level  in  the  house — since  the 

projection  room  is  almost  wholly  soundproof.  At  the  left  of 

the  speakers  will  be  seen  the  scanning  and  projection  ports. 

which  are  opened  or  closed  mechanically  by  the  small  motor. 

This  unit  in  turn  is  synchronized  with      [Continued   on   page  63] 

Urged  to  "take  his  toys"  to  the  garret,  an  English  amateur 

produced  a  full-scale  playhouse  .  .  .  Calls  it  his  "Kin-Attic" 


TRIPLE    TURNTABLE    disc    sound    system    is    in    center   foreground 
above,    while    below    are    seen    the    projection    ports    and    spots. 


52 


FEBRUARY    1951 


announcing 

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Very 
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The  70  DL  includes  all  the  basic  fea- 
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ranking  all  over  the  world,  plus  many 
important  new  improvements.  First,  check 
the  advantages  illustrated  here.  Next,  go 
see  it  at  your  Bell  &  Howell  dealer ! 

Then  you'll  know 
why  it's  destined 
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man s  camera ! 


7  film  speeds  ...  8,  12,  16 

(normal),  24  (sound),  32, 
48,  and  64  (true  slow  mo- 
tion) frames  per  second. 

»  Critical  Focuser  permits 
you  to  look  through  the 
lens  for  precise  visual  focus 
on  the  subject. 

Hand  Crank  for  short  dou- 
ble exposures  and  other 
trick  effects  and  for  unlim- 
ited film  run. 

Powerful    Spring    Motor 

winds  like  a  watch  with 
folding,  non-  rotating  key. 
Operates  22  feet  of  film  on 
one  winding.  Speed  is  accu- 
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out film  run. 


70  DL  1 6mm  camera  complete 
with  1"  f/1.9  lens  $QCQ95 


Rotating  Viewfinder  Turret 

mounts  3  positive  view- 
finder  objectives  to  match 
lenses  on  lens  turret. 

Parallax  Adjustment  cor- 
rects from  infinity  down  to 
3  feet. 

Film  Plane  Mark  clearly 
shows  position  of  film  plane 
within  camera  for  accurate 
focusing  measurement. 

Turret  Head  accommodates 
three  lenses  for  instantane- 
ous change. 


MOVIE    MAKERS 


53 


Mayfair  Carrying  Case.  A 

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The  Mayfair  holds  your  70 
DL  safely,  securely  ...  ac- 
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place  on  turret . .  .  has  com- 
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lens,  filter,  expo-  CQ795 
sure  meter.  Only      W  1 


Bell  &  Howell  Tripod.  For 

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Tilt  head  provides  for  inde- 
pendent or  combined  pano- 
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are  adjustable  .  .  .  feet  are 
spurred  for  outdoor  use, 
rubber  tipped  for  indoor. 
Legs  and  handle  fold  for 
convenient  carry-  Cyl  TRQ 


Focusing  Eyepiece  .  .  .  suits 
individual  sight  variations. 
Makes  view  finding  easy 
for  those  wearing  glasses 
.  .  .  increases  illumination 
to  the  eye  up  to  600%. 


Taylor  Hobson  Cooke  Lenses 

This  family  of  .fine  lenses  is  especially  designed  for  Bell  & 
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1 .  Highest  degree  of  correction  yet  developed  for  16mm  film. 
Same  sharpness  and  contrast  for  all  lenses,  regardless  of 
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54 


SOME  COMMON  LIGHTING  ERRORS 

Are  your  indoor  movies  marred  by  multiple  shadows, 

"butterflies"  or  overstrong  back  lighting?    Here's  how  to  correct  them 


Photographs   for 

FOR  THOSE  who  have  just  joined  the  class,  this  in- 
formally related  series  of  pictures  and  precepts  began 
in  December  with  A  Lighting  Formula.  We  saw  there 
that  four  lighting  units  (key,  fill,  back  and  background) 
could  create  pleasing  light  patterns  according  to  a  rela- 
tively fixed  formula. 

Last  month,  in  Look  At  Your  Lighting,  we  considered 
how  this  formula  might  be  carried  out  in  general  pur- 
pose scenes  and  adapted  to  special  purpose  ones.  We 
found  with  this  latter  category  (in  which  some  feature 
of  the  scene  dictates  the  lighting  pattern)  that  the  estab- 
lished formula  must,  on  occasion,  be  varied  to  suit  the 


FIG.   1:   Here  "butterfly"  shadows  beside  the   nostrils  have   been 
created    by    poor    placement,    equal    intensity    of    key,    fill    lights. 


FIG.    1-A:    Effect    is    corrected    by    re-posing,    moving    both    lights 
toward    camera,    lowering    key    light.    Eye    catch    lights   tell    story. 


MOVIE  MAKERS  by    LEO    J.    HEFFERNAN,    FACL 

demands  of  the  scene.  In  other  words,  though  the  for- 
mula is  basically  good,  there  can  rarely  be  a  hard  and 
fast  rule  in  lighting. 

We  must  experiment.  And  yet  in  doing  so,  in  depart- 
ing from  the  formula,  we  may  fall  into  one  or  more 
lighting  errors.  In  this  discussion,  then,  we  shall  examine 
some  of  the  more  common  mistakes — and  suggest  ways 
of  correcting  them. 

MULTIPLE  SHADOWS  ON  BACKGROUND 

For  every  light  source  in  front  of  a  foreground  subject, 
a  corresponding  shadow  of  the  subject  may  fall  on  the 
background.  This  was  vividly  illustrated  last  month  in 
the  shot  of  the  reading  girl,  and  it  will  not  be  pictured 
again  here.  But  it  will  be  worth  while  to  emphasize  the 
corrections  for  this  error. 

Pouring  light  on  the  background  will  minimize  the 
effect;  but  at  the  same  time  it  is  likely  to  overlight  this 
part  of  the  setting.  Better  are  the  following:  (1)  raise 
the  offending  lighting  units,  so  that  the  shadows  fall  at 
a  sharper  angle,  thus  missing  the  background;  (2)  move 
important  figures  and  objects  toward  the  foreground  and 
away  from  the  wall,  so  that  your  normal  background 
lighting  will  be  adequate. 

CROSS  SHADOWS  ON   FACE 

Since  the  key  light  and  the  fill  light  are  usually  on 
opposite  sides  of  the  camera,  it  is  obvious  that  each 
of  them  will  create  shadows  on  any  face  which  they 
illuminate.  If  the  lighting  ratio  of  these  two  units  is 
what  it  should  be  (2  to  1  for  color),  only  the  shadows 
created  by  the  key  light  will  remain  visible.  They  will 
be  on  the  fill-light  side  of  the  face  and  (depending  on 
certain  other  factors)  are  likely  to  be  pleasantly  effective. 

However,  if  the  intensity  of  these  two  lighting  units 
is  approximately  equal,  they  will  then  create  twin  or 
cross  shadows  on  the  face,  especially  around  the  nose. 
This  effect — which  is  known  to  studio  light  men  as  "but- 
terflies"— is  clearly  illustrated  in  our  Fig.  1. 

Correcting  the  butterfly  effect  may  be  accomplished  in 
several  ways:  (1)  intensify  the  key  light  or  decrease  the 
fill  light;  (2)  move  the  fill  light  to  a  point  nearer  the 
camera  axis;  (3)  re-pose  the  subject.  In  our  Fig.  1-A 
both  of  the  latter  two  correctives  have  been  used.  Ade- 
quate correction  may  always  be  judged  visually. 

OTHER  FACIAL  SHADOWS 

Sometimes,  when  the  key  light  is  placed  too  high,  or 
when  the  action  calls  for  a  subject  to  lower  his  head  for 
a  noticeable  period  of  time,  shadows  from  the  brow  will 
cause  the  eyes  to  be  underlit,  the  shadow  from  the  nose 
will  cross  the  line  of  the  lips,  and  there  will  be  an  unbe- 
coming shadow  cast  by  the  lower  lip.  All  three  are  re- 
garded as  offensive  in  a  good  lighting  setup.  And  all 
three  of  these  effects  are  clearly  illustrated  in  our  Fig  2. 

The  remedy  is  simple  and  obvious.  Study  your  subject 
while  placing  the  key  light.  If  his  actions  are  likely  to 
create  these  shadows,  have  him  rehearse  them  while  you 


55 


observe  the  lighting  effect.  Then  lower  your  key  light 
enough  to  clear  up  the  difficulty.  The  correct  lighting  is 
seen  in  Fig.  2-A. 

STRONG   BACK   LIGHTING 

Back  lighting,  as  we  all  know,  is  generally  supplied 
with  a  spotlight.  In  the  hands  of  the  uninitiated,  this 
unit  may  often  create  too  strong  a  rim  lighting  effect 
because  ( 1 )  of  being  too  close  and  ( 2  )  of  its  concentrated 
beam  and  strong  carrying  power.  In  either  case,  the  effect 
is  bad,  since  any  overlit  area  will  catch  the  eye  and  dis- 
tract it  from  the  overall  scene. 

Fig.  3  is  only  a  reasonably  unattractive  example  of 
overdone  back  lighting.  At  the  same  time,  however,  it  is 
I  intentionally )  a  thoroughly  unattractive  example  of  the 
"arty"  or  bizarie  pose,  showing  up  this  sort  of  thing  for 
all  its  specious  silliness.  To  begin  with,  the  disembodied 
head  is  unnatural,  not  to  say  ghoulish  in  appearance. 
Note,  also,  how  the  pose  makes  the  face  seem  swollen, 
the  nose  overlarge  and  the  chin  too  sharp.  There  is, 
further,  no  great  charm  that  we  know  of  in  observing  the 
inverted,  inner  nostrils  of  an  otherwise  lovely  face.  When 
one  adds  to  these  physiological  horrors  the  esthetic  im- 
balance of  the  glaring,  vertical  line  of  the  hair  and  the 
strong  horizontal  line  of  the  table  top,  it  should  be  clear 
that  the  bizarre  pose  is  usually  bad  business.  The  amateur 


v:::    f:-"^ 


FIG.  2:  With   key  light  too   high,   shadows  from   brow   block   out 
eyes,    a    nose    shadow    crosses    lip    line,    lower    lip    is   too   heavy. 


FIG.    3:    Burnt    up    from    excessive    back    lighting    is    the    hair    of 
this    lovely    lady.    Note    also    "arty"    pose    and    poor    composition. 


FIG.    2-A:    Lowering    key    light    and    advancing    fill    unit    clears 
up    these    errors.    Note   better    contrast    on    cheek    and    shoulder. 


FIG.    3-A:    A    natural    pose    and    restrained    use    of    back    lighting 
bring    out  full    beauty.    Spot  unit   has    been    pulled    up   and    back. 


cameraman,  wanting  balance  and  sincerity  in  his  pic- 
tures, will  avoid  all  forms  of  "artiness" — either  of  pose 
or  lighting — as  he  would  the  plague. 

ADJUSTING  THE  BACK  LIGHT 
Fig.  3-A  shows  a  restrained,  natural  and  thoroughly 
pleasant  use  of  back  lighting.  The  best  procedure  for 
arriving  at  the  right  effect  is  to  begin  by  training  the 
center  of  the  spotlight  beam  on  the  back  of  the  subject's 
head.  Then,  from  the  camera  position,  study  the  illumina- 
tion as  the  spot  is  turned  slowly  away  from  the  subject 
until  the  desired  contrast  level  is  achieved.  Further,  if 
the  subject  is  a  lovely  girl  wearing  a  decollete  gown,  the 
light  should  be  turned  upward  at  the  same  time,  since  the 
neck  and  shoulders  will  reflect  much  light. 

To  sum  up,  we  find  that  among  the  most  common 
errors  in  inexperienced  lighting  are  the  creation  of 
multiple  shadows  on  the  background,  cross  or  other  un- 
desirable shadows  on  the  face,  and  an  exaggerated  use 
of  back  lighting  for  presumed  glamour.  The  important 
thing  is  to  be  conscious  of  these  errors  as  such.  For,  once 
knowing  them  by  name  and  symptom,  the  observant 
amateur  will  the  more  readily  recognize  them  in  his 
filming.  And — we  hope — now  know  how  to  correct  them. 


56 


WILL  THEY  FIT  MY  CAMERA? 

ERNST     WILDI,     ACL    Manager,   Technical   Department,   Paillard   Products,   Inc. 


WHEN  Kern,  the  world  famous  130  year  old  Swiss 
optical  company,  entered  the  movie  lens  market 
in  1943,  their  first  matched  sets  of  lenses  were 
produced  specifically  for  the  Bolex  H-16,  H-8  and  L-8 
movie  cameras. 

All  of  these  lenses  were  made  to  the  highest  standards 
of  optical  craftsmanship  and  they  soon  became  known 
for  their  consistency  and  superb  picture  quality.  There- 
fore, it  was  not  long  before  owners  of  other  movie  cam- 
eras began  fitting  the  series  of  Kern-Paillard  (Bolex 
mount)  lenses  to  their  equipment  by  means  of  adapters. 

To  meet  this  growing  demand,  and  to  obviate  where- 
ever  possible  the  use  of  lens-ring  adapters,  a  new  series 
of  Kern-Paillard  lenses  was  introduced  in  September  of 
last  year.  Featuring  an  automatic  depth  of  field  scale — 
clearly  marked  and  easy  to  read — they  were  given  the 
name  '"Visifocus."  This  name  already  has  been  found  to 
describe  their  ease  of  operation  very  well. 

But  perhaps  more  important  to  the  practicing  amateur 
is  the  fact  that  all  five  Visifocus  lenses  for  16mm.  cam- 
eras come  with  a  standard  "C"  mount,  while  all  four 
such  lenses  for  8mm.  cameras  come  with  the  standard 
A.S.A.  mount.  This  means  that  these  lenses  will  fit  most 
8mm.  and  16mm.  cameras  without  the  necessity  of 
installing  an  adapter  ring  between  lens  and  camera. 
Screwed  firmly  into  the  camera,  they  will  be  in  perfect 
focus,  thus  eliminating  the  danger  of  improper  seating 
caused  by  slight  variations  in  the  threading  of  the  adapter. 

KERN  LENSES  FOR  16MM.  AND  8MM.  CAMERAS 
Table  1  lists,  in  the  center  column,  all  of  the  16mm. 
cameras  which  accept  the  Visifocus  Yvar  lenses  directly. 
Furthermore,  as  shown  in  the  right  hand  column,  all  of 
the  same  lenses  may  be  used  (with  adapter  ring  BO-310) 
on  a  large  number  of  8mm.  cameras  as  well. 

In  addition  to  the  four  Yvar  lenses  listed  in  this  table, 
an  Yvar  75mm.   (3  inch)  //2.5  may  be  used  directly  on 


The  Kern-Paillard  16mm  lenses 

With  Paillard  Adapter  Ring 

fit  directly,  without  adapters,  on: 

BO-310 

Bolex  H-16 

Bolex  H-8 

Bell  &  Howell  70  above  Serial  No.  S4090 

Kodak  Reliant 

Bell  &  Howell  70  D,  E,  F,  G  and  J 

Revere  88 

Bell  &  Howell  Auto  Load 

Revere  Ranger 

Bell  &  Howell  Auto  Master 

DeJur  Citation 

Revere  16 

DeJur  Embassy  D-400 

Revere  26 

DeJur  Fadematic  DC-100 

Yvar  150mm  (6")    f/4.0 

Auricon  Pro 

DeJur  Calif ornian  DH-100 

Yvar  100mm  (4")     f/3.3 

Auricon  Cine  Voice 

Keystone  K-22 

Yvar    75mm  (3")    f/2.8 

Victor:  Model  3  above  Serial  No.  3688S 

Keystone  K-36 

Yvar    16mm  (WA)  f/2.8 

Model  4  above  Serial  No.  20026 
Model  5  above  Serial  No.  521  SI 

Grover  G.S.A.P. 

Keystone  all  16  mm  models 

Morton  Soundmaster 

Pathe  Super  16 

Maurer  05 

Nord  Professional 

Pizar  26mm  (1 ")  f/1.9 

on  all  above  cameras 
except  Pathe  Super  16 

Switar  1"  f/1.4    / 
Switar  1"  f/1.5   ( 

Bolex  H-16  only 

all  the  16mm.  cameras  and  with  an  adapter  ring  on  the 
8mm.  units.  It  is  not  listed  in  the  table,  since  it  no  longer 
is  in  production.  However,  for  those  movie  makers  who 
may  already  own  this  objective,  we  include  these  data.  In 
further  addition,  one  Kern  Pizar  and  two  Kern  Switar 
lenses  may  be  used  as  listed.  Unlisted  because  out  of 
production,  but  accepting  the  same  usage,  are  the  Pizar 
1  inch  //1.5  and  Yvar  15mm.   (WA)  f/2.8  lenses. 

KERN  LENSES  FOR  8MM.  CAMERAS  ONLY 
Kern-Paillard  lenses  designed  specifically  for  use  on 
8mm.  cameras  are  shown  in  Table  2.  These  objectives 
require  no  adapter  for  the  cameras  indicated.  The  8mm. 
filmer  will  do  well  to  keep  in  mind,  however,  the  four 
other  lenses  offered  him  (with  adapter  ring)  in  Table  1. 
In  connection  with  these  primarily  16mm.  camera  lenses, 
it  should  be  remembered  that  their  optical  action  on  an 
8mm.  camera  will  be  twice  as  "powerful"  as  on  a  16mm. 
camera.  For  instance,  a  3  inch  lens  used  on  an  8mm.  cam- 
era will  give  the  same  magnification  as  a  6  inch  lens  on  a 
16mm.  camera — and  the  8mm.  viewfinder  must  be  adapted 
accordingly. 

ADAPTING  THE  BOLEX  VIEWFINDER 
The  Bolex  H-16  Trifocal  viewfinder  is  matched  for  the 
three  lenses  commonly  regarded  as  the  best  combination 
on  a  16mm.  camera — the  15mm.  wide  angle  lens,  the  1 
inch  standard  lens  and  the  3  inch  telephoto.  This  view- 
finder  also  may  be  modified  by  the  installation  of  masks, 
or  by  etching  the  front  finder  lens,  for  the  fields  of  the 
following  other  focal  length  lenses:  2  inch  and  2%  inch, 
or  4  inch,  or  5  inch  or  6  inch. 

The  total  number  of  modifications  permissible  is  re- 
stricted by  the  fact  that  a  choice  must  be  made  between 
the  addition  of  the  fields  of  view  of  the  4,  5  or  6  inch 
lens.  The  additional  field  for  the  2^2  inch  lens  is  always 
etched  on  the  front  finder  lens  and  so  can  be  added  to  the 
three  other  fields  for  which  the  finder  is  matched. 
It  should  be  noted  that  the  installation  of 
masks  necessarily  cuts  down  the  actual  size 
of  the  aperture  through  which  the  field  is 
viewed,  thereby  decreasing  the  accuracy  of 
framing.  For  those  movie  makers  who  use  a 
long  telephoto  frequently,  a  special  4,  6  or  8 
inch  viewfinder  for  the  Bolex  H-16  is  recom- 
mended. 

The  viewfinder   of  the   Bolex  H-8  is  nor- 
mally calibrated  for  the  three  standard  fields 


The  Kern-Paillard  8mm  lenses 
fit  directly,  without  adapters,  on: 


Switar  Vi"  f/1.5 
Pizar  Vi"  f/1.9 
Yvar  1 "  f /2.5 
Yvar  IVi"  f/2.8 


Bolex  H-8 
Kodak  Reliant 
Revere  88 
Revere  Ranger 
DeJur  Citation 
DeJur  Embassy  D-400 
DeJur  Fadematic  DC-100 
DeJur  Californian  DH-100 
Keystone  K-22 
Keystone  K-36 


TABLE  NO.   1 :  Listed  above  (left)  are  the  Kern-Paillard  lenses  currently  offered,  the 
16mm.  cameras  (center)  they  fit  directly  and  the  8mm.  cameras  with  adapter  ring. 


TABLE    NO.   2:    Four   other   Kern    lenses,    made   specifically 
for  8mm.  use,  fit  without  adapter  on  the  cameras  above. 


57 


Available 
Finder 

Focal  Length  of  Accessory  Lens 

25mm. 

38  or 
40mm. 

50mm. 

63mm. 

102mm. 

I  52mm. 

1  3mm. 

0.5 

0.3 

0.25 

0.2 

25mm. 

1.0 

0.62 

0.5 

0.4 

0.25 

38mm. 

1.0 

0.8 

0.6 

50mm. 

1.0 

0.8 

0.5 

0.3 

75mm. 

0.75 

0.5 

102mm. 

1.0 

0.66 

152mm. 

1.0 

TABLE  NO.  3:  How  much  to  mask  your  available  finder,  listed  at  left,  is  deter- 
mined  by  multiplying  its  dimensions  with  the  factor  Figures  columnized  above. 

Here    are    the    Kern-Paillard    lenses    which 

may  be  used  on  Bolex  or  other  cameras — 

8mm.  or  16mm.,  with  or  without  adapters 

.  .  .  The  second  of  a  series 

of  the  y<i  inch,  1  inch  and  1%  inch  lenses.  However, 
it  can  be  modified  for  additional  lenses  of  the  following 
focal  lengths:  7.5mm.  in  place  of  the  1  or  V-/2  inch  lens, 
2,  21/2  or  3  inch. 


THE  BOLEX  OCTAMETER  VIEWFINDER 

Ideally,  however,  the  viewfinder  companion  for  the  new 
Visifocus  lenses  is  the  still  newer  Bolex  Octameter  view- 
finder.  At  the  present  time,  the  Octameter  finder  for  the 
H-8  is  matched  for  five  lenses,  while  the  similar  unit  for 
the  H-16  is  calibrated  for  six  lenses.  In  the  very  near 
future,  both  of  these  Octameter  finders  will  be  matched 
for  eight  lenses  of  different  focal  lengths.  These  are,  in 
millimeters : 

H-8:  6.5,  9,  12.5,  25,  36,  50,  63,  75. 

H-16:  16,  25,  35,  50,  63,  75,  100,  150. 

Modifications  for  other  fields  of  view  on  the  Octameter 
viewfinder  cannot  be  made,  but  it  is  possible  to  adjust  the 
finder  for  practically  any  lens  by  setting  the  dial  between 
two  of  the  engraved  figures.  For  example,  if  the  knurled 
knob  is  set  between  100mm.  and  150mm.,  the  finder  will 
show  the  field  of  a  125mm.  or  5  inch  lens. 

An  additional  lens  for  the  Octameter  will  be  available 
soon  and  will  match  the  finder  for  a  200mm.  (8  inch) 
lens  in  the  case  of  the  H-16  or  a  100mm.  (4  inch)  lens 
in  the  case  of  the  H-8. 

ADAPTING  OTHER  CAMERA  VIEWFINDERS 
Where  Kern-Paillard  lenses  are  used  on  cameras  of 
other  makes  (as  indicated  in  the  preceding  tables  I,  their 
viewfinders  also  must  be  adapted  to  the  focal  length  of 
the  lens  in  question.  An  excellent  method  of  determining 
how  much  adaptation  is  needed  was  the  system  set  forth 
in  the  first  installment  of  Will  They  Fit  My  Camera? 

(The  installment  was  on  Cine-Kodak  lenses  and  ap- 
peared in  Movie  Makers  for  October,  1950.  For  those 
new  readers  who  missed  it,  the  system  is  outlined  again 
herewith. — Ed.) 

The  method  was  based  on  a  table  which  is  reproduced 
here  as  Table  3.  The  figures  in  the  "Focal  Length  of 
Accessory  Lens"  column  are  factors  by  which  the  height 
and  width  of  an  available  finder  should  be  multiplied 
to  obtain  the  dimensions  of  finder  masks  for  lenses  of 
longer  local  length.  For  example,  to  mask  a  finder  that 
shows  the  field  of  a  25mm.  lens  so  that  it  will  show  the 
field  of  a  50mm.  lens,  the  table  indicates  that  both  dimen- 
sions should  be  multiplied  by  the  factor  0.5.  If  the  orig- 
inal dimensions  are  1  inch  by  %  of  an  inch,  the  finder 
should  be  masked  to  !/2  inch  by  %  of  an  inch,  and  so  on. 


WILL  THEY  FIT?  From  the  telephotos  to  wide  angle,  these 
and  other  Kern  lenses  may  be  at  your  service.  The  tables  tell. 


There  is  no  way,  of  course,  of  increasing  the  maximum 
field  of  a  viewfinder  so  that  it  will  serve  with  a  lens  of 
shorter  focal  length  than  the  standard — as,  for  example, 
adapting  the  finder  of  a  25mm.  lens  for  use  with  a  15mm. 
wide  angle  objective. 

OPTICAL  INTERFERENCE 
All  Kern-Paillard  lenses,  even  the  ones  of  large  aper- 
ture and  long  focal  length,  are  kept  to  the  smallest  pos- 
sible dimensions.  Thus,  a  complete  set — comprising  the 
wide  angle,  standard  and  3x  telephoto  lenses — can  be 
used  on  the  turret  of  any  of  the  cameras  listed  in  Tables 
1  and  2  without  danger  of  optical  or  mechanical  inter- 
ference. The  4  inch  and  6  inch  Yvar  lenses,  regarded  as 
objectives  for  special  purposes  only,  should  not  be  left  on 
the  turret  when  the  wide  angle  or  1  inch  lens  is  being  used. 

KERN    LENSES    FOR    BOLEX    L-8 

Finally,  there  are  quite  a  number  of  the  Kern-Paillard 
lenses  which  can  be  used  on  the  Bolex  L-8  camera — and 
a  very  few  of  them  on  that  camera  only.  This  is  brought 
about  by  the  special  design  of  the  camera's  lens-mount 
seating,  which  has  a  short,  highly  precise  flange-to-focal- 
plane  distance.  Table  4,  which  follows,  shows  how  various 
Kern  lenses  may  be  adapted  to  the  L-8  camera. 


LENSES 

USED    ON   THE    BOLEX  L-8 

Directly   and 
on    L-8   only 

With   adapter 
ring   BO-1469 

With    adapter    ring 
BO-310   and   BO-1469 

Yvar  V2"  f/2.8  in 

Switar  W  f/1.5 

Pizar  1"  f/1.9 

focusing  mount 

Yvar  V2"  f/2.8   in 
fixed    focus    mount 

Pizar  V2"  f/1.9 
Yvar  1"  f/2.5 

Yvar    16mm    f/2.8 
Yvar  75mm.  f/2.8 

Yvar   IV2"  f/2.8 

Yvar  75mm.  f/2.5 
Yvar  100mm.  f/3.3 
Yvar   150mm.   f/4 

(Similar  data  on  Bell  &  Howell  lenses,  for  use  on 
Filmos  or  other  cameras,  is  in  preparation.  Watch  for  it 
in  a  coming  issue  of  Movie  Makers — The  Editors.) 


58 

Photographs    by   Felix   and    Nikki    Zelenka 


MIDWAY   POINT,   a   rocky   bastion   crowned   with   a   single   cypress,   has 
become  an   outstanding    pictorial   symbol    of   entire   Monterey   Peninsula. 


FOREGROUND   FIGURE  will   add   interest  to  your  sequence  of  desolate 
Point  Joe,    infamous   as   the    graveyard    of   three    ocean-going    steamers. 

UNIQUE  in  its  landscape  and  genial  in  climate,  the 
Monterey  Peninsula  may  well  be  the  raw  material 
of  one  of  your  most  attractive  movies.  For  this  great 
forested  promontory,  reaching  out  into  the  blue  Pacific 
from  a  medial  position  on  the  California  coast  line,  is 
rich  in  history  and  rewarding  in  human  interest. 

IN  OLD  MONTEREY 

Motoring  into  the  region  from  the  north,  one  is  at- 
tracted by  the  romance  of  "Old  Monterey,"  a  quaint 
little  township  with  two  centuries  of  background.  Now 
populated  by  9100  souls,  it  was  once  the  most  important 
settlement  in  California,  when  from  1770  to  the  time  of 
the  Gold  Rush  it  was  the  state  capital. 

Under  care,  a  delightful  assemblage  of  historic  struc- 
tures are  clearly  marked  and  dated  to  recall  the  glory 
of  the  Monterey  that  was  a  Bohemian  coterie  in  the  day 
of  the  Spanish  Dons.  There  are  about  fifty  picturesque, 
long-galleried  adobe  buildings  within  the  city  limits. 
Guiding  the  visitor  through  Monterey's  winding  avenues 
is  a  broad  yellow  line  painted  in  the  center  of  the  street. 
Ultimately,  a  sign  informs  the  sightseer,  its  course  will 
lead  past  every  historically  important  site.  Among  these 
are  the  first  theatre,  the  home  of  Robert  Louis  Steven- 


Movies  at 

MONTEREY 

There's  more  than  cypress  to  call  your 
camera  along  Monterey's  17  Mile  Drive 

FELIX    ZELENKA 


son  and  the  San  Carlos  Church,  often  mistaken  for  a 
California  mission  because  of  its  architectural  similarity. 
It  is  advisable  to  tour  the  city  first  before  deciding 
which  of  these  landmarks  to  record  on  film.  Since  it  is 
impractical  to  film  each  and  every  structure  on  your 
tour,  it  may  be  best  to  select  a  half  dozen  or  so  of  those 
that  are  the  most  suitably  lighted  at  the  time  of  your 
visit.  Precede  each  scene  with  a  closeup  of  the  placard 
describing  the  dwelling;  and,  in  order  to  link  them  to- 
gether into  a  continuity,  separate  the  shots  with  moving 
car  inserts  as  you  motor  through  Monterey. 

CARMEL-BY-THE-SEA 

On  the  southern  approach  to  the  Monterey  Peninsula 
the  visitor  is  greeted  by  the  Mission  del  Rio  Carmelo, 
better  known  as  Carmel  Mission.  Although  founded  in 
1770  by  Father  Junipero  Serra,  the  structure  actually 
was  not  built  until  sometime  after  his  death.  This  Span- 
ish Franciscan  missionary,  whose  remains  were  laid  to 
rest  at  Carmel  Mission,  was  responsible  for  twenty  one 
of  these  historic  landmarks  along  the  coastwise  Camino 
Real.  To  him  and  his  friars  are  credited  the  earliest 
architectural  achievements  in  California. 

Further  south  is  the  informal  village  of  Carmel-By- 
The-Sea.  This  community  among  the  pines  has  long 
been  recognized  as  the  art  and  literary  center  of  Califor- 
nia. Grown  from  a  tiny  colony  of  squatter  artists  to  a 
town  of  more  than  a  thousand  residents,  Carmel  has 
fought  stubbornly  against  civic  improvements,  wishing 
to  remain  purposely  a  rustic  hamlet  for  artists  and 
writers. 

THE  CIRCLE  OF  ENCHANTMENT 
But  by  far  the  most  popular  feature  of  the  Monterey 
panorama  is  its  circle  drive,  a  scenic  route  leading  along 
rocky  headlands  that  border  on  the  sea.  Whether  you 
begin  your  tour  of  the  peninsula  at  Carmel  or  Monterey 
it  matters  very  slightly,  for  surely  if  you  begin  at  one 
the  route  will  lead  to  the  other.  For  the  sake  of  identi- 
fication, however,  let's  follow  a  course  from  Monterey 
and  travel  south. 

In  the  pine  forest  near  Monterey  Bay  and  a  short  dis- 
tance from  Monterey  itself  is  Pacific  Grove.  From  here 
the  road  continues  westward  to  Point  Pinos  at  the  north- 
western extremity  of  the  peninsula  and  finally  past  Point 
Pinos  Lighthouse,  built  in  1872.  Open  to  the  public  from 
1:00  to  4:00  p.m.  on  Tuesdays  and  Thursdays,  this 
guardian  of  the  rocky  coastline  offers  the  filmer  a  mag- 
nificent panoramic  view  of  the  area  from  its  tower. 

THE  SEVENTEEN  MILE  DRIVE 
The  toll  gate  to  the  17  Mile  Drive  (50  cents  per  car) 
opens  on  a  road  winding  through  Monterey  pines  and 
scrub  oak,  their  branches  hung      [Continued  on  page  62] 


59 


AN   IMPROVED  FILM  CLEANER 


A  self -feeding  fluid  reservoir  marks  this  homemade    unit  of  aluminum 


LEWIS    C.    COOK,    ACL 

MORE  than  a  year  and  a  half  ago,  more  in  cockiness 
than  in  confidence,  I  mailed  in  to  this  magazine  a 
series  of  photographs  on  a  homemade  film  cleaner 
I  had  just  then  devised.  Although  the  gadget  worked  well 
enough,  it  was  a  crude  and  clumsy  brainchild,  thrown  to- 
gether from  a  couple  of  slabs  of  wood  and  some  odds  and 
ends  out  of  empty  film  magazines. 

Worst  of  all  was  the  fact  that  there  was  no  way — short 
of  demounting  the  darned  thing — of  moistening  the  clean- 
ing pad  during  a  long  reel  of  film.  So  recently  I  revolted 
and  designed  a  new  model.  Complete  with  a  self-feeding 
fluid  reservoir  and  an  easily-removable  pad,  it  is  presented 
on  this  page. 

Like  its  older  brother,  my  new-model  cleaner  consists 
essentially  of  a  baseboard,  an  upright,  four  rollers,  two 
idlers,  a  spring  mechanism  to  hold  the  pad  in  place  and, 
of  course,  a  pad.  Earlier,  as  already  suggested,  I  fashioned 
the  baseboard  and  upright  from  blocks  of  wood.  You  can 
still  do  so  if  you  wish;  for  you  may  find  this  material  easier 
to  work  and  to  join.  But,  for  a  smoother  looking  job,  I  made 
my  '51  model  out  of  aluminum. 

Get  a  couple  of  sheets  of  the  stuff,  thick  for  the  baseboard, 
thin  for  the  upright.  Machine  them  to  shape  as  shown,  with 
a  slot  cut  in  the  rear  edge  of  the  base  of  the  same  size  and 
thickness  as  the  upright.  Before  mounting  the  upright  in 
place,  drill  holes  for  the  placement  of  the  four  rollers  and 
two  idlers  as  indicated.  In  this  connection,  it  is  important 
to  remember  that  the  inner  faces  of  the  lower  rollers  should 
fall  slightly  within  the  outer  arcs  of  the  upper  rollers,  thus 
creating  a  slight  tension  between  them. 

The  rollers  on  my  present  model  started  life  as  parts  of  a 
plastic  curtain  rod,  while  the  idlers  were  cut  from  a  chrome 
rod.  Both  were  then  fashioned  on  a  small  lathe.  Of  prime 
importance  in  this  operation,  of  course,  is  the  hollowing  out 
of  their  faces  so  that  the  film  comes  in  contact  with  rollers 
and  idlers  only  along  their  raised  edges.  These  edges  should 
correspond  in  width  to  the  width  of  the  perforation  area  on 
the  film. 

The  spring  gate  clip  from  an  empty  film  magazine  is  now 
attached  by  screw  to  the  bracket  extending  from  the  top  of 
the  upright.  But  of  more  interest  is  my  self-feeding  fluid 
reservoir.  This  is  created  by  hollowing  out  the  head  of  a 
large  machine  screw  and  then  drilling  the  full  length  of  its 
shaft.  Thus,  not  only  does  this  screw  bring  adjustable  tension 
to  bear  on  the  spring  clip,  which  in  turn  holds  the  pad  in 
place.  The  screw  also  feeds  a  slight  but  continuing  trickle 
of  cleaner  fluid  to  the  felt  pad.  For  a  long  job  of  cleaning,  as 
on  a  1600  footer,  added  reservoir  capacity  can  be  created 
by  adding  the  funnel-like  tin  cup  to  the  top  of  the  screw  head. 

In  closing,  a  word  of  caution  about  using  this  type  of 
fixed  film  cleaning  pad.  Since  the  function  of  the  pad  is  to 
pick  up  dirt  from  the  film,  we  must  expect  that  the  pad  itself 
will  need  constant  cleaning — and  in  time  renewing.  Person- 
ally. I  recommend  removing  the  pad  after  each  400  foot  reel 
and  brushing  its  face  briskly  with  a  stiff  brush.  This  will 
tend  to  dislodge  any  sharp  particles  which  may  have  become 
embedded  in  its  soft  texture.  And  don't  be  stingy  about 
inserting  a  new  felt.  The  stuff's  cheaper  than  film. 


Photographs  by  Lewis  C   Cook,  ACL 


FRONT   VIEW   of  improved   film   cleaner  shows   placement  of  rollers, 
idlers,     cleaning     pad,     spring     clip    and     adjustable    tension    screw. 


TOP    VIEW    shows    attachment   of    spring    clip    to    upper    flange    and 
design    of    hollowed    machine    screw   for    self-feeding    fluid    reservoir. 


STILL    MORE    cleaning    fluid    capacity,    for    cleaning    long    reels,    is 
achieved   by  addition   of  funnel-like   cup   on   top  of   machine  screw. 


60 


News  of  the  Industry 

Up  to  the  minute  reports  on  new 

products  and  services  in  the  movie  field 


E.K.  biblios  Eastman  Kodak  an- 
nounces a  new  infor- 
mation sheet  concerning  the  storage  of 
16mm.  films  in  active  movie  libraries, 
which  discusses  the  best  location  for  the 
film  library  and  humidity  controls,  as 
well  as  factors  to  be  considered  for  long 
term  storage. 

Kodak  also  is  issuing  three  revised 
visual  aid  bibliographies,  entitled  Some 
Sources  of  2  by  2  inch  Color  Slides, 
Visual  Aid  Sources — Motion  Pictures 
and  Filrnstrips  and  Selected  References 
on  Photographic  Visual  Aids.  Copies  of 
these  publications  may  be  obtained 
without  charge  from  Sales  Service  Divi- 
sion. Eastman  Kodak  Company,  Roches- 
ter 4,  N.  Y. 

New  B  &  H  70-DL  Bell  &  Howell 
Co  m  pa  ny's 
latest  entry  in  the  16mm.  camera  field, 
the  70-DL,  features  an  exclusive  new 
parallax-correcting  viewfinder,  which  is 
claimed  by  the  company  to  represent  a 
revolutionary  step  in  finder  brilliance, 
accuracy  and  convenience  and  to  be  the 
only  one  of  its  type.  The  new  finder  is 
adjustable  for  parallax  correction  from 
3  feet  to  infinity  in  eight  steps.  The 
optical  system  is  said  to  transmit  500 
percent  more  light  to  the  eye  and  to 
provide  extreme  sharpness  and  in- 
creased contrast  over  full  image  area. 
The  focusing  eyepiece,  adjustable 
through  a  range  of  6  diopters,  meets 
individual  visual  requirements  and  has 
a  %  inch  positional  clearance  for  those 
who  wear  glasses.  The  finder  has  its 
own  three-objective  rotating  turret,  on 
which  any  three  positive  objectives  may 
be  mounted  to  match  lenses  on  the  cam- 


FILMO  70-DL,  latest  in  an 
illustrious  line,  features  bril- 
liant, parallax  correcting 
finder  and  focusing  eyepiece. 
Priced   from   $344.95. 


era  turret.  There  is  an  index  mark  on 
the  viewfinder  which  shows  the  plane 
from  which  to  measure  film-to-subject 
distance  for  critical  work. 

The  camera  has  seven  speeds  from  8 
to  64  frames  a  second,  hand  crank  for 
back  winding,  critical  focuser  for 
through-the-lens  visual  focus,  a  23  foot 
film  run  with  one  winding  and  a  start- 
ing button  lock. 

The  new  70-DL  (which  will  replace 
the  popular  70-DA  and  DE  models)  is 
priced  as  follows:  with  1  inch  //1.9 
Super  Comat  focusing  lens,  $369.95; 
with  1  inch  //1.4  TTH  Ivotal  focusing, 
$459.95 ;  with  1  inch  f/2.5  Ansix  focus- 
1.95.  All  lenses  are  coated,  and 


the  prices  include  federal  tax.  Further 
information  may  be  obtained  from  Bell 
&  Howell  Company,  7100  McCormick 
Road.  Chicago  45,  111. 


TWENTY  Kodascope  Pageant  sound  projectors 
check  in  at  Minneapolis  schools.  Dudley  Par- 
sons, jr.  (right),  visual  education  consultant, 
listens  as  Kodak's  Richard  E.  Down  explains 
important  features  and  Mort  Liss,  of  city's 
National  Camera  Exchange,  looks  on. 


THE  NIZO  8,  German-made  8mm.  spool  cam- 
era, offers  twin-lens,  vertical  turret  and  three 
viewfinders.     Prices     begin     at    $159.50,    f.t.i. 

New  German  8     The  Nizo>  a  new 

German-  made 
8mm.  spool  camera,  has  been  released 
to  the  American  market.  It  features  a 
double  lens  mount  which  shifts  vertical- 
ly for  instant  interchange  of  standard 
and  telephoto  lenses.  When  a  telephoto 
lens  is  moved  into  place,  the  optical 
viewfinder  automatically  provides  cor- 
rect field  of  view. 

Three  separate  viewfinders  are  offered 
— one  for  eye  level  viewing,  one  for 
waist  level  viewing  and  a  third  for 
"candid"  shots.  With  the  last  mentioned, 
the  filmer  may  look  in  a  direction  at 
right  angles  to  that  at  which  the  lens  is 
pointed,  and  yet  still  observe  the  sub- 


ject. Speeds  range  from  8  to  64  frames 
a  second,  and  there  is  provision  for 
single  frame  exposure.  A  back  winding 
device  provides  the  possibility  of  lap 
dissolves  and  all  multiple  exposure  ef- 
fects. 

The  Nizo  lists  at  $159.50  with  a 
coated  //1.9  Schneider  lens;  at  $219.00 
with  a  coated  //1.5  Rodenstock.  The 
camera  is  manufactured  by  the  long 
established  Niezoldi  &  Kramer  Com- 
pany of  Munich,  with  distribution  in 
the  United  States  being  handled  by 
Ercona  Camera  Corporation,  527  Fifth 
Avenue,  New  York  17,  N.  Y. 

G-E  booklet  General  Electric  an- 
nounces a  new  edition 
of  its  booklet,  G-E  Photo  Lamp  Data, 
a  handy  guide  for  professional  and 
amateur  photographers.  The  revised  edi- 
tion contains  completely  new  tables  giv- 
ing the  correct  exposure  when  using 
G-E   photoflood   and   photoflash  lamps. 

The  new  values  have  been  determined 
by  test  methods  established  by  the 
American  Standards  Association.  In 
general,  more  exposure  is  recommended 
than  previously.  In  addition,  there  are 
included  a  table  of  the  latest  film  speed 
ratings,  a  revision  of  G-E  photoflash 
time-light  data  and  listings  of  3200°  K 
and  3350°  K  lamps  for  color  photog- 
raphy. 

G-E  Photo  Lamp  Data  is  available  on 
request  at  photographic  dealers  and 
through  the  Inquiry  Bureau,  General 
Electric  Company,  Nela  Park.  Cleve- 
land 12,  Ohio. 

PMDA  show  Two  February 
events  of  interest  to 
photographers  in  the  New  York  met- 
ropolitan area  include  the  National 
Photographic  Show  of  1951  at  the  71st 
Regiment  Armory,  34th  Street  and  Park 
Avenue,  February  22  through  25.  This 
year's  theme  is  "Education  in  Photog- 
raphy." New  photographic  equipment 
will  be  on  display,  and  there  will  be 
demonstrations  of  major  manufacturers' 
products,  as  well  as  staged  events  that 
visitors  may  photograph.  General  ad- 
mission is  $.85,  including  tax,  and  the 
hours  are  11:00  a.m.  to  10:00  p.m. 

The  Annual  Photographic  Industry 
Dinner  Dance  will  be  held  February  21 


MOVIE  MAKERS 


61 


in  the  Starlight  Room  of  the  Hotel 
Waldorf  Astoria.  This  year's  dinner  is 
in  behalf  of  the  Rehabilitation  Photog- 
raphy Program  of  Volunteer  Service 
Photographers.  Tickets  for  the  dinner 
and  dance  are  $10.00  each.  Among  the 
patrons  are  Joseph  J.  Harley,  FACL, 
President  of  the  Amateur  Cinema 
League,  and  Mrs.  Harley. 


EK  holds  prices 


Eastman  Kodak 
Company  an- 
nounces that  it  has  suspended  price 
increases  on  several  of  its  products  and 
has  pledged  itself  to  "cooperate  in  every 
reasonable  way"  with  national  efforts 
to  halt  a  general  rise  in  price  levels. 

"The  Kodak  company  has  always 
done  its  part  willingly  during  national 
emergencies  of  the  past,  and  we  will 
continue  that  policy,"  Thomas  J.  Har- 
grave,  president,  said  in  a  statement. 
He  added,  "Just  how  long  our  hold- 
the-line  effort  will  work  obviously  de- 
pends not  on  us  alone  but  also  on  what 
happens  to  the  prices  of  the  raw  ma- 
terials and  supplies  which  we  must 
buy." 

Cornell  Film  Hunting  with  Bow 
and  Arrow,  a  two  reel 
film  produced  by  Cornell  Film  Com- 
pany, of  New  York  City,  received  a 
Broadway  opening  at  the  Astor  Theatre 
along  with  the  prize  winning  feature, 
Harvey,  and  it  is  predicted  that  it  will 
remain  there  for  six  months.  Hunting 
with  Bow  and  Arrow  is  the  first  of  a 
series  of  two-reelers  produced  by  Cor- 
nell under  the  name,  World  of  Ad- 
venture. 

Cornell's  Pattern  for  Survival  was  re- 
cently run  in  Union  Station,  in  Wash- 
ington, D.C.  Later,  Mr.  Kerl,  manager 
of  the  station,  said  that  the  showing  of 
this  atom  bomb  defense  film  did  more 
for  Civilian  Defense  in  Washington  than 
anything  to  date. 

Albert  S.  Howell     One  of  the 

great  pioneers 
of  the  early  days  of  motion  pictures, 
Albert  S.  Howell,  chairman  of  the  board 
of  Bell  &  Howell,  died  January  3  in 
Chicago. 

He  had  obtained  patents  on  over  sixty 
five  photographic  devices,  one  of  which 
was  largely  responsible  for  removing 
the  flicker  that  was  evident  in  early 
films.  He  entered  partnership  with  Don- 
ald J.  Bell  in  1907  and  continued  in 
active  service  with  the  company  until 
1940.  Mr.  Howell  was  a  Life  Member 
of  the  Amateur  Cinema  League. 

Master  Reflex     A  sinsle  lens  re 

flex  camera,  for- 
merly known  as  the  Reflex  Korelle,  has 
reappeared  in  America  in  a  new  model 
called  the  Master  Reflex.  This  still  cam- 
era takes  twelve  21/4  by  21/4  pictures  on 
No.  120  film.  The  focal  plane  shutter 
has  speeds  of  one  second  to  1/1000,  is 


NO  ARGUMENT  HERE! 

they  all  agree  — the 


GRISWOLD 1= 

IS 
"the  finest  splicer  buy" 


This  solid,  all-metal  preci- 
sion-built splicer  is  indeed 
"the  finest  splicer  buy"  be- 
cause its  low  cost  is  so  quick- 
ly returned  to  you  in  time 
and  money,  saved  in  making 
your  own  splices.  Less  torn 
film  and  fewer  interrupted 
shows  are  assured  due  to 
GRISWOLD  high-precision 
features — your  guarantee  of 
accurate  right-angle  cuts  plus 
perfect  alignment  of  film  and 
spacing  of  perforations  every 
time.  A  money-saving,  life- 
time investment  for  every 
movie  maker  and  exhibitor. 
If  your  photo  dealer  can't 
supply  you,  order  direct  from 
our    National    Distributor  — 


THE  GRISWOLD  JUNIOR  MODEL 

for  8   and    16   mm   films— only   $15 

There's    a    CRISWOLD     model    for 

every    size   and    type   of   film. 


NEUMADE  PRODUCTS,  330  West  42nd  St.,  N.  Y.  18,  N.  Y. 

GRISWOLD  MACHINE  WORKS 

DEPT.  A,  410   MAIN   STREET,   PORT  JEFFERSON,  N.  Y. 


M^B9^0 


MOTOR   REWINDS 

Model  PD-1  saves  time,  labor. 
Equipped  with  ball  bearing, 
power-driven  motor,  throw-out 
clutch  for  reversing  and  brake- 
end  geared  hand  rewinder.  Foot 
controlled.  Mounted  on  acid-re- 
sisting white  enameled  panel — 40" 
x   13".   A   sturdy,   complete   unit. 


RACKS   AND   CABINETS 

Neumade's  de  luxe  storage  equipment  is  offered  in 
a  complete  line  of  handsomely  finished  steel  cabi- 
nets and   racks  to  preserve   and   protect  your   film. 


JV&wmd3& 

EFFICIENCY 

LINES 

REELS 

RACKS 

SPLICERS 

CABINETS 

TABLES 

CLEANERS 

CANS 

REWINDS 

SHIPPING  CASES 

Write  Today  for  Free  Fully  Illustrated  Catalog  Dept.  101C 


4916) 


PRODUCTS        CORP, 
330  W.  42nd  St.,  New  York  18,  N.  Y. 


62 


FEBRUARY   1951 


C  I  a  s  s  i  f  i  e  d    advertising 


■  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


■  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT  FOR  SALE 


9  SYNCHRONOUS  motors  installed  on  16mm.  pro- 
jectors, $145.00.  Synchronous  equipment  rented  and 
sold.  M.  W.  PALMER,  468  Riverside  Drive,  New 
York  27. 


■  CINE  Special  1948,  f/1.9,  excellent,  $425;  new 
Elgeet  3",  $50;  EK  4%"  //4.5,  $45;  3"  B&H  projec- 
tion lens,  $30.  DAVIS,  5329  Holmes,  Kansas  City,  Mo. 


D  NEW  MORTON  SOUNDMASTER  single  system 
camera,  three  lens  turret,  200  ft.  magazine,  portable 
DC  nower  pack  can  be  used  on  location,  $645.00, 
plus  batteries.  Filmo  70A,  1"  //3.5  lens,  875.00. 
Bolex  H-16,  1"  f/1.9  lens,  $195.00.  Diplomat  16mm. 
projector  and  case,  $150.00.  Kodascope  FS10N  sound 
projector,  $245.00.  We  buy,  sell,  trade  all  16-35mm. 
motion  picture  equipment.  THE  CAMERA  MART, 
Inc.,   70   West  45th   Street,   New   York. 


■  UNBEATABLE ! !  Up  to  40%  discount  on  brand 
new  movie  and  still  photographic  equipment.  For 
IZe. .and  discounts  write  STRAUS  SUPPLY  CEN- 
TER,  Dept.  MM,  113  West  42nd  St.,  New  York  18. 


■  FOR  sale:  25mm.  f/1.9  Eastman  "C"  mount 
coated  lens,  $45.00;  25mm.  Cooke  //l.S  lens  $65.00; 
both  for  16mm.  LeROY  SEGALL,  161-W.  Wisconsin 
Ave.,   Milwaukee,   Wise. 


■  WORLD'S  LARGEST  SELECTION  OF  FINE 
MOVIE  LENSES— Guaranteed,  available  on  15  day 
trial.  In  focusing  mounts  for  8mm.  cameras:  % 
y/1  9  Wollensak  Raptar  (coated),  $45.70;  1% 
f/3  5  Cine  telephoto,  $34.50.  In  focusing  mounts 
coated  for  16mm.  cameras:  17mm  //2  7  Carl  Meyer 
wide  angle,  $44.50;  2"  f/2  Schneider  Xenon,  $99.50, 
3"  //2.8  Carl  Zeiss  Tessar,  $109.50.  These  are  only  a 
few  of  the  bargains  in  our  tremendous  stocks.  Write 
today  for  complete  lens  listing.  BURKE  &  JAMES, 
Inc.,  321  So.  Wabash  Ave.,  Chicago,  111.  Att :  M.  M. 
James. 


FILMS  FOR  RENTAL  OR   SALE 


■  CASTLE  films  for  sale:  8mm. -16mm.  silent  and 
sound;  complete  stock,  orders  shipped  day  received 
by  STANLEY-WINTHROP'S,  Inc.,  90  Washington  St., 
Quincy  69,  Mass.  

■  NATURAL  COLOR  SLIDES,  Scenics,  National 
Parks,  Cities,  Animals,  Flowers,  etc.  Sets  of  eight, 
$1.95;  sample  &  list,  25^.  SLIDES,  Box  206,  La 
Habra,   Calif. 

■  USED  and  new  Castle  films:  8-16,  silent  and 
sound.  Send  for  lists.  ALVES  PHOTO  SERVICE, 
Inc.,   14  Storrs  Ave.,   Braintree   84,   Mass. 

■  FREE  Movies:  Thousands  of  subjects.  Interesting. 
Entertaining.  Fascinating.  Latest  Directory — only  50^. 
NATIONAL  CINE  SOCIETY,  126  Lexington  Ave., 
Dept.    102    C,    New   York    16,    N.    Y. 

■  1951  ROSE  PARADE  MOVIES.  Kodachrome. 
Colorful  floats!  Beautiful  girls!  16mm.  200  ft.,  $29.95. 
8mm.  100  ft.,  $14.95.  C.O.D.'s  accepted.  California 
add  tax.  AVELON  DAGGETT,  441  North  Orange 
Drive,   Los   Angeles  36,    Calif. 

■  BORROW  THESE  FILMS— Directory  to  free-loan 
movies,  $1.00.  AMERICANA  FILMS,  Box  2526M, 
Hartford,    Conn. 

■  1951  ROSE  PARADE,  Pasadena.  Our  9th  year; 
8-16mm.  color,  beautiful.  NORM  JACOT,  Box  572, 
Manhattan    Beach,    Calif. 

■  SURPLUS  sale  16mm.  library  films.  ROOM  1501M, 
6  N.   Michigan,    Chicago. 

■  BRAND  new  1-reel,  16mm.  sound  prints  of  dis- 
continued Castle,  Pictorial  releases  low  as  $5.95 — 
regular  price  $17.50.  100'  16mm.  Panoram  musicals, 
good  used  condition,  $9.95  per  dozen.  Bargains  in 
new  silent  16mm.  and  8mm.  films,  too.  We  have  the 
world's  biggest  stock  of  16mm.  sound  films  for  sale — 
over  100,000  prints  in  stock.  Write  today  for  our  big 
free  catalog.  "Sixteen's  Super  Market."  BLACKHAWK 
FILMS,  Inc.,  401  Grampp  Warehouse,  Davenport, 
Iowa. 


MISCELLANEOUS 


■  KODACHROME  DUPLICATES;  8mm.,  or  16mm., 
11^  per  foot.  Immediate  service  on  mail  orders. 
HOLLYWOOD  16  MM  INDUSTRIES,  Inc.,  6060  Hol- 
lywood   Blvd.,    Hollywood   28,    Calif. 

■  NO  NEGATIVE  ?  ?  ?  Send  picture  or  transparency 
and  $1.00  for  new  negative  and  2  5x7  enlargements, 
CURIO-PHOTO,   1187  Jerome  Ave.,  New  York  52. 

■  SOUND  RECORDING  at  a  reasonable  cost.  High 
fidelity  16  or  35.  Quality  guaranteed.  Complete  studio 
and  laboratory  services.  Color  printing  and  lacquer 
coating.  ESCAR  MOTION  PICTURE  SERVICE,  Inc., 
7315  Carnegie  Ave.,  Cleveland  3,  Ohio.  Phone : 
Endicott  2707. 

■  TWO  4  x  5  BL.  &  W.  ENLARGEMENTS  and  nega- 
tive from  your  moviefilm,  or  two  colorprints  from 
colorfilm.  Send  frames  and  one  dollar.  CURIO- 
PHOTO,    1187    Jerome   Ave.,    New  York   52. 

■  16MM.  SOUND  movie  camera  for  rent.  Write 
ANTHONY  IOVINO,  86-01  Commingwealth  Blvd., 
Bellerose,   N.   Y. 


NEW  IMPROVED 

1  950 

MOVIE  MAKERS  BINDER 


NOW  AVAILABLE 

$3.00  each* 

•Please  add   2%   City  Sales  Tax  for 
New    York    City    delivery 

AMATEUR  CINEMA  LEAGUE,  Inc. 

420    Lexington    Avenue,   New   York    17,    N.    Y. 


synchronized  for  flash  and  strobe  and 
has  a  delayed  action  self-timer.  With 
"T"  coated  //2.8  Zeiss  Tessar  lens,  the 
camera  is  priced  at  $199.50,  federal  tax 
included.  Made  in  Germany,  the  Master 
Reflex  is  distributed  in  America  by 
Ercona  Camera  Corporation,  527  Fifth 
Avenue,  New  York  17,  N.  Y. 

$1000  fellowship     FloydeE. 
B  r  o  o  k  e  r  , 

chairman  of  the  Encyclopaedia  Britan- 
nica  Films  Scholarship  selection  board, 
announces  a  new  $1000  fellowship  for 
graduate  study  of  audio-visual  tech- 
niques at  any  college  or  university  in 
the  United  States. 

Applicants  to  qualify  must  have  at 
least  a  bachelor's  degree  and  be  pres- 
ently engaged  in  the  field  of  audio-visual 
education.  They  also  must  be  under  35 
years  of  age  prior  to  May  1,  1951.  Ap- 
plication forms  for  the  fellowship  may 
be  obtained  from  Mr.  Brooker,  chief, 
Visual  Aids  to  Education,  U.  S.  Office 
of  Education,  Washington  25,  D.C. 


Copyright  film  list 


Now  avail- 
able from 
the  Copyright  Office,  Library  of  Con- 
gress, Washington  25,  D.C,  is  the  Cata- 
log of  Copyright  Entries,  a  publication 
which  lists  approximately  1000  the- 
atrical and  non-theatrical  films  and 
filmstrips  which  were  copyrighted  dur- 
ing the  first  half  of  1950.  Subscription 
to  the  motion  picture  section  of  the 
Catalog  of  Copyright  Entries  is  $1.00  a 
year;  single  copies  may  be  had  for 
fifty  cents. 

Movies  at  Monterey 

[Continued  from   page  58] 

with  long  streamers  of  Spanish  moss. 
In  a  wide  mesa  between  a  dazzling 
crescent  of  white  sand  dunes,  the  route 
skirts  Moss  Beach  and  ultimately 
reaches  to  Point  Joe  and  its  restless 
sea.  Named  for  a  Japanese  squatter 
who  lived  here  many  years  ago,  Point 
Joe  overlooks  the  surging  of  two  ocean 
currents  where  three  large  vessels  have 
foundered. 

From  Point  Joe  to  Cypress  Point 
many  additional  markers  locate  other 
sea  disasters  as  the  drive  winds  past 
Bird'Rock  and  Seal  Rocks  respectively. 

Eventually  one  arrives  at  Cypress 
Point  and  its  unique  golf  course,  which 
has  been  laid  out  fringing  the  sea 
cliffs  and  is  famed  for  its  "over  water" 
approaches.  Here  too  are  the  twisted 
and  windblown  cypress  trees,  which 
have  become  a  symbol  of  the  Monterey 
Peninsula.  Native  to  no  other  region 
in  the  world,  these  trees  have  inspired 
countless  legends  to  account  for  their 
mysterious  presence.  Whatever  their 
origin,  they  are  probably  the  most 
photographed  and  most  painted  trees 
in  America. 


MOVIE   MAKERS 


63 


8MM—  16MM 
KODACHROME 
BLACK  &  WHITS 


dtoS. 


Enlorqec 
...A  Reduced ._ 
Free  Catalog  on  Request. 


2-^ NATIONAL  CIN-E  LAB 

BOX44-ZS  •  WASHINGTON  17,  DC 


THE  ACL  LEADER 

signature  of  a  GOOD  FILM 

To  all  ACL  Members: 

Yes,  we've  put  in  18  re-orders  for 
the  ACL  Full  Color  Leader  — and 
still  your  orders  are  pouring  in. 

If  you  haven't  ordered  your  ACL 
Leaders  yet,  you're  missing  all  the 
glow  and  sparkle  that  the  beautiful 
color  footage  will  add  to  your  fin- 
ished films. 

Against  a  dark  background,  the 
earth  —  with  the  continents  vari- 
colored against  the  rich  blue  seas  — 
revolves  slowly  until  the  sparkling, 
crystal  letters  ACL  fade  in  across  the 
sphere's   curvature. 

Then  a  narrow  band  of  brilliant 
red,  bearing  in  white,  raised  letters 
the  word  MEMBER,  swings  across 
the  globe.  A  second  band  of  red, 
with  AMATEUR  CINEMA  in  white, 
zooms  in  from  the  right  and  is  fol- 
lowed by  a  third  red  band,  with  the 
word  LEAGUE. 

A  smooth  lap  dissolve  follows,  and 
across  the  same  three  red  panels  ap- 
pear the  words  WORLD  WIDE  AS- 
SOCIATION OF  MOVIE  MAKERS, 
in  gleaming  white  letters.  These, 
together  with  the  sphere,  then  slowly 
fade  out. 

There's  still  more:  the  trailer.  As 
your  film  ends,  you  fade  in  once  more 
on  the  slowly  spinning  earth  —  and 
a  brilliant  red  band  sweeps  diag- 
onally across  it,  announcing  in  large 
white  letters  THE  END. 

Cordially, 

Oft  jw^^s.  ^     t**«»u^, 

JAMES   W.   MOORE 
Managing  Director 

P.S.  16mm.  leaders  are  14  ft.;  8mm., 
7  ft. — same  running  time. 


If    you 

are 

not 

yet 

a     memb 

er 

of    the 

Amateur 

Ci 

lema 

League, 

see 

the 

inside 

back     cover 

of 

this 

issue 

for 

complete 

informat 

Oil 

and 

an 

appl 

cat 

on 

blank. 

AMATEUR   CINEMA   LEAGUE,    Inc.  9.51 

420  Lexington  Avenue 
New   York    17.    N.    Y. 

Yes.  as  a  member  of  ACL,  I  certainly  want  several 
of  the  beautiful  new*  Kodaehrome  leaders.  I  enclose 
ray  check  or  money  order  for: 

16mm.  Kodaehrome  leaders  at  $1.50  each 

, Smm.  Kodaehrome  leaders  at  $1.00  each 


Street. 
City 


MIDWAY  POINT 
As  a  trademark  of  the  Monterey 
Peninsula,  Midway  Point  also  has 
served  its  part  well.  This  castellated 
crag  juts  into  the  sea  defiantly,  with  a 
lone  cypress  clinging  to  its  battlement 
of  jagged  stones.  Visitors  may  clamber 
up  into  its  turret,  the  cliff  falling  be- 
low on  all  sides,  and  look  out  over 
crescent  shaped  Carmel  Bay  to  the 
east  and  across  furrowed  fields  of  water 
to  Point  Lobos  State  Park.  From  the 
drive,  as  one  approaches  Midway  Point, 
long  shots  may  be  made  with  other 
cypress  trees  framing  the  scene.  As  a 
matter  of  fact,  no  scene  along  17  Mile 
Drive  could  be  more  suitable  as  a  back- 
ground for  your  main  title  assembly 
than  a  well  composed  shot  of  Midway 
Point. 

POINT  LOBOS  STATE  PARK 
Continuing  the  drive  to  Pescadero 
Point,  the  road  leads  through  sump- 
tuous villas  to  Pebble  Beach  on  Carmel 
Bay;  then,  climbing  the  hills  of  the 
peninsula,  it  passes  out  of  Del  Monte 
Forest  gate  to  the  village  of  Carmel. 
Three  miles  south  of  Carmel  on  the 
coast  highway  is  Point  Lobos  Reserve 
State  Park. 

The  sea  lions  that  gather  on  the  rocks 
gave  rise  to  the  Spanish  name,  Punta 
de  los  Lobos  (Point  of  the  Wolves). 
This  is  the  southernmost  locale  of  the 
Monterey  cypress  and  here,  with  many 
protected  plant  and  animal  species, 
exists  one  of  the  country's  outstanding 
outdoor  museums. 


Third-floor  theatre 

[Continued  from   page  51] 

the  curtain-draw  motor,  so  that  as  the 
curtain  swings  to  a  close,  the  projection 
port  also  is  shut  off. 

The  layout  and  furnishings  of  the 
house  and  stage  should  be  fairly  clear 
from  the  photographs.  The  predominant 
color  scheme  combines  green  with  gold 
and  is  carried  out  in  the  carpeting, 
chairs  and  stage  curtains.  These  latter 
are  of  unfigured  gold  satin,  which  we 
felt  would  better  reflect  the  illumination 
of  the  footlights  and  the  three  250  watt 
spotlights  trained  on  the  curtains  from 
above  the  projection  ports. 

My  final  decision  on  a  screen  surface 
may  be  of  interest  to  other  home  cin- 
emists.  Although  planning  to  place  the 
twin  speakers  behind  the  screen,  1 
wished  to  avoid  the  perforated  or  sound- 
screen  surface  because  of  its  loss  of 
light.  Instead.  I  tried  one  of  woven  glass 
fibres;  but  the  imperfections  of  the 
weave  were  too  evident  on  projection. 
My  final  solution  was  to  stretch  tautly 
a  double  thickness  of  fine  Irish  linen. 
This  provided  for  excellent  passage  of 
the  sound  (even  the  high  frequencies) 
and  had  entirely  adequate  reflectance 
with  a  750  watt  projection  lamp. 


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3mm  movies — precision  clockwork  motor  with  more  than 
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trick  work,  continuous  run  lock  to  take  pictures  of 
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CAMERA     SPECIALTY     COMPANY,     INC. — 
50  West  29th  Street  New  York  1,  N.  Y 


STOP  APOLOGIZING  FOR 
YOUR  MOVIE  TITLES 

Write  today  for  a  FREE  A-to-Z  Sample  Title  Test 
Kit.  Make  titles  that  are  different  .  .  .  better  and 
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COMPLETE   COLOR    OR    B.&.W.   OUTFIT   $6.50 

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Two  2<  stamps  for  giant  catalogue.  State  size.  1 


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REED  &  REED  DISTRIBUTORS,  INC. 
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2V4   x   3!/4   COLOR   PRINTS    50c   each 

Price   of   larger    prints   on   request 
From    8    and    16mm    Color    Film 

Send  3  frames  or  tie  thread  next  to  frame 
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orders    of     less    than     $5.00.     No    C.O.D.'s. 

HOUSE    OF   COLOR 

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24     Hour     Laboratory    Processing     Included 

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ARCO    MOVIE    FILMS,    INC. 
Dept.  302,  8616  Fourth  Ave.,  Brooklyn,  9.  N.Y, 


64 


N.  Y.  8'S  invite  The  New  York  8mm.  Motion  Pic- 
ture Club  will  hold  its  annual  Guest 
Night  on  March  2  at  its  regular  headquarters,  the  Hotel 
Statler  in  New  York  City,  with  the  program  scheduled  to 
start  promptly  at  8:30  p.m. 

Among  the  films  programmed  thus  far  are  two  of  the 
1950  Ten  Best  selections,  Nextdoor  Neighbor,  by  Esther 
Cooke,  ACL,  of  Albany,  N.  Y.,  and  Bless  This  House, 
by  Grace  Lindner,  ACL,  of  Kenmore,  N.  Y. 

Tickets,  which  will  include  refreshments  following  the 
screening,  are  $1.50;  they  may  be  obtained  from  Brit 
Boice,  210  Lincoln  Road,  Brooklyn  25,  N.  Y.,  or  from 
Joseph  F.  Hollywood,  FACL,  65  Pine  Street,  New  York 
5,  N.  Y. 

Westwood  winners     Art  Weir  and  Ed  Kentera  tied 

for  first  place  in  the  annual 
contest  recently  concluded  by  the  Westwood  Movie  Club, 
in  San  Francisco.  Mr.  Weir's  film  was  Able  Baker,  Mr. 
Kentera's  Mans  Castle.  Duplicate  trophies  were  awarded. 
Second  prize  went  to  Angus  Shaw  for  A  Day  in  the  First 
Grade.  Gene  Bockmeir  was  in  third  position  with  Rocky. 
Dr.  Mervyn  Miller,  William  Abbenseth  and  Gordon  Rob- 
ertson were  the  judges. 

The  1951  board  of  directors  is  headed  by  Arthur  Weir 
as  president.  Sal  Siciliano  is  vicepresident,  Othel  Goff, 
ACL,  is  treasurer,  and  Earl  Nelson  is  program  director. 

New  in  Brazil  A  new  cine-photo  group  has  been 
organized  in  Brazil  under  the  name 
of  Sociedade  Cine-Foto  de  Arapongas.  Dr.  Ismael  Dor- 
neles  de  Freitas  is  president.  First  and  second  vicepresi- 
dents  are  Guilherme  Meyer  and  Dr.  Gilberto  Soares 
Botelho,  respectively.  The  secretary-general  is  Jose  Car- 
valho,  with  first  and  second  assistant  secretaries  Antonio 
Frias,  jr.,  and  Aparecido  de  Oliveira,  respectively.  Joao 
Vieira  is  treasurer,  assisted  by  Rubin  Machado  de  Souza 
and  Mario  Coelho  Aguiar.  Dr.  Antao  de  Azevedo  Bueno 
is  speaker,  or  presiding  officer.  Nathaniel  de  Macedo 
Gomes  is  librarian.  The  board  of  directors  includes  Milton 
Eduardo  Ludrs,  Joao  Ficker,  Alcides  Frias  and  Dr.  Jose 
Muggiati  Filho.  Dr.  Flavio  Ribeiro  is  legal  consultant. 

L.  A.  winners  Herbert  F.  Sturdy  took  top  honors  in 
the  silent  division  of  the  annual  con- 
test of  the  Los  Angeles  Cinema  Club  with  Sweeter  by  the 
Dozen.  Holland,  by  Mildred  Zimmerman,  ACL,  won  first 
place  in  the  sound  division,  and  Oil,  by  William  Hobro 
and  Robert  Sample,  first  place  in  the  8mm.  division. 
Other  winners  were:  silent — Order  of  Business,  by  Jack 
Shandler,  second,  and  Waters  of  Yosemite,  by  Charles 
J.  Ross,  ACL,  third;  sound — Joint  Account,  by  Leo 
Caloia,  second,  and  Venice  to  Paris,  by  Stanley  Boiler, 
third. 

Madison    elects      Langdon    Divers    was    chosen    new 

president  of  the   Madison    (Wise.) 

Movie  Club,  ACL,  at  a  pre-holiday  election.  Other  officers 

are  E.  C.  Holterman,  vicepresident;  Mrs.  L.  F.  Dugan, 


The  people,  plans  and  programs  of 

amateur  movie  groups  everywhere 


L.     Willi; 


UNIQUE  AWARDS,  designed  and  made  by  a  member  of  the  Kansas  City 
(Mo.)    Amateur    Movie    Makers,    ACL,    were    given    contest    winners. 

secretary;  George  Beck,  treasurer;  R.  H.  Lang,  sr.,  pro- 
gram chairman,  assisted  by  Dr.  C.  A.  Bergmann.  Serving 
with  them  as  directors  are  Henry  Ford,  L.  E.  Godfriaux, 
Dr.  T.  A.  Leonard,  L.  J.  Padgham  and  W.  Otto  Hinz, 
ACL. 

The  group  meets  the  first  Tuesday  of  each  month  at 
the  Odd  Fellows  Hall  for  programs  of  8mm.  and  16mm. 
films  and  color  slides.  Visitors  are  invited. 


Chicago  AACC 


The  Associated  Amateur  Cinema 
Clubs,  in  Chicago,  held  their  annual 
banquet  just  before  the  holidays  at  Como  Inn.  Officers 
for  the  current  year  were  installed,  as  follows:  C.  S. 
Dvorak,  of  the  Suburban  Cinema  Club,  president;  C.  A. 
Bauer,  of  Edison  Camera  Club,  vicepresident;  Margaret 
E.  Conneely,  ACL,  of  Metro  Movie  Club,  ACL,  secretary, 
and  Mr.  Fredrickson,  of  Blue  Island  Movie  and  Slide 
Club,  treasurer. 

Schenectady     The   Movie   Group   of  the   Schenectady 

(N.  Y.)  Photographic  Society,  ACL, 
scheduled  an  Amateur  Night  and  impromptu  contest  last 
month,  when  members  were  asked  to  bring  in  their  films 
for  screening,  with  the  best  of  the  evening  to  be  chosen 
by  audience  vote.  The  results  have  not  reached  us. 

Bergen  County  The  Amateur  Movie  Society  of  Ber- 
gen County,  ACL,  installed  its  new 
officers  for  1951  at  the  annual  Christmas  party.  Fred 
Feudale,  ACL,  assumed  the  duties  of  president,  with 
William  Messner,  ACL,  taking  up  those  of  vicepresident. 
George  Weigl,  ACL,  is  secretary,  Arthur  Carlson,  ACL, 
treasurer,  and  Cy  Jenkins,  ACL,  program  chairman. 

The  screening  portion  of  the  party  featured  Mr.  Mess- 
ner's  1950  Ten  Best  film,  Hands  Around  the  Clock.  Also 
shown  were  Merz  Movie  News  Scoops,  by  George  Merz, 
ACL,  and  Doghouse  Blues,  prize  winning  film  borrowed 
from  the  ACL  Club  Film  Library. 


MOVIE    MAKERS 


65 


Brooklyn  contest  Bert  Seckendorf. 
ACL.  took  top 
honors  in  the  annual  contest  of  the 
Brooklyn  Amateur  Cine  Club,  ACL. 
with  Memory  Lane,  grand  award  win- 
ner and  first  place  in  the  16mm.  group. 
Other  winners  in  order  were:  8mm. 
group — High  Card  Goes,  by  Arthur 
Rosenthal  and  Louis  Dishotsky;  A  Fin- 
ished Movie  Maker,  by  Earl  Kaylor: 
Show  Time,  by  Charles  H.  Benjamin. 
ACL;  16mm.  group — Memory  Lane, 
above  mentioned;  Gingerbread  Castle, 
by  Mr.  Benjamin,  and  Florida,  Land  of 
Sunshine,  by  Sam  R.  Fass,  ACL.  Sylvia 
Seckendorf  won  an  Honorable  Men- 
tion in  the  8mm.  class  with  A  Bride's 
Dream. 

Washington,  D.  C.     The   Christ 

mas  party 
of  the  Washington  Society  of  Amateur 
Cinematographers  followed  the  regular 
monthly  showing  of  contest  entry  films 
and  a  demonstration.  Lighting  Up  for 
Christmas,  conducted  by  Harold  Wagar. 
The  films  shown  were  One  Sunday 
Afternoon,  by  Otto  Rasmussen,  ACL: 
Christmas,  1949,  by  Patrick  Morin,  and 
Noel,  by  Clarence  Lahde,  ACL. 

Top  point  scorer  in  the  November 
contest  screening  was  Richard  Parvin. 
ACL,  for  Flight  to  Iwo  Jima,  which 
rated  88.58,  thus  placing  him  high  on 
the  list  for  the  final  selections  to  be 
made  in  June.  Other  winners  for  the 
month  were,  in  order,  Long  Lake  Holi- 
day, by  Daniel  Friedman,  ACL;  Apple 
Blossom  Festival,  by  Elias  Pederson, 
ACL.  and  Day's  Journey,  by  Philip 
Simpson,  ACL. 

LOS  Angeles  8'S  The  annual  con- 
test awards  and 
banquet  made  up  the  pre-holiday  meet- 
ing of  the  Los  Angeles  8mm.  Club.  The 
1951  officers  were  installed. 

Fred  Evans.  FACL.  garned  top  hon- 
ors in  the  contest  as  well  as  taking  all 
three  club  trophies — the  Babb  Achieve- 
ment Trophy,  for  the  best  film  of  the 
year,  the  Los  Angeles  8mm.  Trophy 
and  the  Horton  Vacation  Trophy.  His 
film  was   Vacation  Highlights  of  1950. 


.     JpM 

/         HL         .Jhflfti 

|\J 

Kg*  j 

EaBb^J 

WANT  TO  JOIN  A  MOVIE  CLUB? 
Write  to  the  ACL  for  the  address 
of  the  club  nearest  you.  If  there  is 
no  club  active  in  your  community, 
we'll  send  you  free  a  detailed  bul- 
letin on  how  to  get  one  going. 
Address:  Clubs,  Amateur  Cinema 
League,  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


A  JOINT  MEETING  of  the  Long  Island  Cine 
Club,  ACL,  and  the  Lynbrook  Camera  Club 
brings  together  Rosser  LeGwin,  Bert  Secken- 
dorf, ACL,  Brooklyn  Cine  Club,  ACL,  and  A. 
Gustavson,  ACL. 


Runnersup  were  Nitwit  News,  by  Dow 
Garlock;  Here's  Your  Hat.  by  Marian 
Dance,  and  Navajo  Territory,  by  Barry- 
Dance. 

Wash.  Aggies  H.  D.  Bateman, 
ACL,  president, 
heads  the  roster  of  new  officers  elected 
recently  to  govern  the  Agriculture 
Amateur  Movie  Makers,  of  Washing- 
ton. D.  C.  during  the  coming  year. 
Frederic  Faber  and  Ronald  B.  Dozier, 
ACL,  are  first  and  second  vicepresi- 
dents,  respectively.  Martha  Louise  Orr 
is  secretary,  and  W.  Edward  Black- 
more,  ACL,  treasurer.  Charles  H.  Cun- 
ningham. ACL.  and  Max  K.  Steinberg 
were  chosen  members  of  the  executive 
committee. 

Take  it  easy 
with  Indians! 

[Continued   from    page  49] 

sciousness  in  the  practice  of  good  movie 
making.  I  still  recall  with  amusement 
an  afternoon  in  Northern  Minnesota 
where  I  was  filming  a  Chippewa  dance. 

Some  sedate  tourists  came  upon  the 
scene.  Loaded  with  cameras,  they  stood 
rooted  to  one  mid-distant  spot  and 
began  filming  the  action,  all  from  eye- 
level.  At  the  moment  of  their  arrival, 
I  believe  that  I  was  flat  on  my  stomach 
filming  closeups  of  the  shuffling  Indian 
feet.  (Let  me  say  here  that  I  always 
wear  old  khaki  on  my  filming  jaunts, 
so  that  I  am  free  to  take  unhampered 
advantage  of  any  camera  position  the 
subject  offers.) 

Some  of  the  tourists,  however,  began 
to  notice  how  I  was  moving  about  the 
action,  shooting  first  from  a  roof  top, 
next  from  a  convenient  stepladder,  and 
again  from  ground  level.  They  too 
began  to  loosen  up.  Before  I  knew  it, 
some  even  lay  prone  with  me  on  the 
grass  for  those   all-important  closeups. 

When  they  got  home  and  saw  the 
dramatic  difference  of  such  filming.  I 
know  that  they  must  have  been  sur- 
prised. I  like  to  think,  also,  that  they 
would  try  such  filming  in  the  future. 
Why  don't  you? 


MOST  MOVIE  CAMERAS  have  dif- 
ferent speeds  that  allow  you  to  take  pic- 
tures which  appear  normal,  slowed  down 
or  speeded  up.  Each  speed  offers  definite 
opportunities  to  the  cameraman;  discover 
these  and  increase  your  pleasure  in  pic- 
ture making. 


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Choose  any  assortment  of  the  following — 
"Coyote"  "Canada  Goose"  "Sage  Grouse" 
"Busy  Beaver"  "Bears!"  "Spotted  Fawns" 
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Sheep"     "Moose!"     "Prong  Horn   Antelope" 

8MM    Black   &    White. ..  Box  of  3 $5.95 

(each   reel    50') Box  of  6 10.95 

8MM     Kodachrome    Box  of  3 18.95 

(each   reel   50') Box  of  6 36.45 

I6MM    B    &    W Box  of  3 10.95 

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I6MM    Kodachrome   Box  of  3 45.95 

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We  ship  postpaid.  Send  check.  cashorM.O.  to: 

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DISTINCTIVE  EXPERT 

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Doing  business  all   over  the   world. 

•  Our  bargain  lists  are  free.  If  you  haven't 
our  discount  card,  ask  for  one. 

Here's    some    samples: 
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Revere  Magazine  16  MM  2.5  camera      90.00 
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66 


FEBRUARY    1951 


ONE-MAN   MOVIES 


A 


S  WE  write  these  words,  the  annual  Academy 
Awards — the  famous  and  familiar  "Oscars" 
presented  by  Hollywood's  Academy  of  Mo- 
tion Picture  Arts  and  Sciences — have  yet  to  be 
announced. 

However,  a  somewhat  significant  straw  has  recently 
been  cast  upon  the  wind  concerning  the  best  theatri- 
cal film  of  1950.  Here  in  New  York  last  month, 
the  New  York  Film  Critics,  an  informal  association 
of  the  city's  newspaper  reviewers,  announced  their 
selection  of  the  best  American-made  movie  of  the 
year.  The  picture  they  honored  was  All  About  Eve. 
Pressing  it  hard  as  a  runnerup  was  Sunset  Boulevard. 
There  is,  we  think,  more  than  a  little  significance 
to  the  amateur  in  these  selections.  To  wit:  All  About 


Eve  was  written  and  directed  by  one  man,  Joseph  L. 
Mankiewicz.  Sunset  Boulevard  was  written  and  di- 
rected by  two  men  (but  the  same  two),  Charles 
Brackett  and  Billy  Wilder.  As  far  as  the  manifold 
pressures  of  Hollywood  film  making  presently  per- 
mit, both  productions  were  really  one-man  movies. 
This  is,  of  course,  exactly  the  position  of  the 
amateur  producer — and  one  he  has  been  known  on 
occasion  to  deplore  as  a  burden.  We  think  otherwise. 
We  regard  it  as  a  priceless  boon.  For  in  our  expe- 
rience, the  creative  opportunities  of  film  planning 
and  the  interpretive  possibilities  of  film  execution 
should  be  integrated  in  one  personality.  Only  in  that 
way — the  amateur  way — -lies  true  freedom  of  ex- 
pression. 


THE    AMATEUR    CINEMA    LEAGUE,    Inc. 

Founded    in    1926    by    Hiram    Percy   Maxim 


DIRECTORS 


Joseph   J.   Harley,   President 
Ethelbert  Warfield,    Treasurer 

C.    R.   Dooley 
Arthur    H.    Elliott 
John   V.    Hansen 


Ralph    E.  Gray,   Vicepresident 
James  W.  Moore,  Managing  Director 

Harold  E.  B.  Speight 
Stephen  F.  Voorhees 
Roy  C.  Wilcox 


The  Amateur  Cinema  League,  Inc.,  sole  owner  and  publisher  of 
MOVIE  MAKERS,  is  an  international  organization  of  filmers.  The 
League  offers  its  members  help  in  planning  and  making  movies.  It 
aids  movie  clubs  and  maintains  for  them  a  film  exchange.  It  has 
various  special  services  and  publications  for  members.  Your  member- 
ship   is   invited.    Six    dollars  a    year. 


AMATEUR    CINEMA    LEAGUE,    INC..  420    LEXINGTON    AVE,.  NEW  YORK     17,  N.  Y.,  U.  S.  A. 


Ideas  for  Easter 

[Continued  from    page  45] 

to  your  chair.  He  says,  "Lay  some  more 
eggs,  Daddy!" 

You  gulp  and  stare  at  him.  Fade 
out  on  a  closeup  of  Jimmy's  expectant 
face. 

But  perhaps  the  children  in  your 
family  are  old  enough  so  that  they  no 
longer  believe  in  the  Easter  Bunny.  If 
so,  you  can  still  film  a  picture  of  the 
festivities.  Let's  call  this  one: 

"THE  MASTERPIECE" 

The  opening  scene  is  on  Easter  eve, 
with  the  entire  family  gathered  around 
the  kitchen  table  getting  ready  to  dye 
eggs.  Mom  has  just  boiled  a  dozen  or 
so  eggs,  and  is  cooling  them  off.  The 
youngsters  make  ready  with  the  dyes, 
cups  and  other  paraphernalia  while  you 
look  on  with  only  mild  interest,  doing 
nothing.  At  last  the  dyes  are  mixed  and 
the  coloring  process  begins.  This  af- 
fords some  excellent  opportunities  for 
ultra  closeups  of  the  white  eggs  as- 
suming beautiful  hues.  You  are  criti- 
cal, as  though  your  family  doesn't  know 
how  to  go  about  it.  Your  suggestions 
are  not  appreciated.  At  last  one  of  the 
kids  suggests  that  you  dye  an  egg. 

While  you  don  an  apron,  one  of  the 
kids  takes  an  unboiled  egg  from  the 
refrigerator.  You  sit  down  and  are 
given  the  unboiled  egg.  You  study  it.  as 
if  determining  the   proper   artistic   ap- 


proach to  the  problem.  The  kids  cover 
up  smiles,  expecting  the  egg  to  break 
at  any  moment.  Your  wife  is  in  on  the 
secret,  but  doesn't  warn  you. 

While  the  rest  of  the  family  con- 
tinue coloring  the  mound  of  eggs,  you 
keep  working  on  your  lone  one,  adding 
special  color  effects  with  a  brush.  At 
last  all  the  eggs  are  colored,  and  the 
family  admits  that  you  have  done  a  fine 
job  on  yours.  You  are  pleased  and  non- 
chalantly toss  it  in  the  air  and  deftly 
catch  it.  Then  you  carefully  set  your 
masterpiece  on  top  of  the  pile  of  col- 
ored eggs. 

Next  day,  Easter,  the  family  has 
breakfast,  after  which  you  again  ad- 
mire your  masterpiece.  The  youngsters 
watch  you  carefully,  expecting  you  to 
break  the  egg  accidentally  at  any  mo- 
ment. You  keep  holding  it  and  tossing 
it  in  the  air.  Finally  you  shout  "Catch" 
to  one  of  the  kids  and  toss  him  the 
egg.  His  eyes  bulge,  he  is  horrified, 
but  he  manages  to  catch  the  egg  with- 
out breaking  it.  Then  he  tosses  it  back. 

One  of  the  kids  suggests  you  eat  it. 
You  reply  that  each  one  of  the  family 
will  now  eat  an  egg.  You  select  eggs 
for  your  wife  and  kids.  Then  they 
watch  eagerly  while  you  start  to  crack 
your  egg  and  are  amazed  to  find  that 
the  egg  is  hardboiled.  You  motion  for 
them  to  go  ahead  and  crack  theirs. 
Gingerly  your  wife  cracks  hers  and 
shells  it.  One  of  the  youngsters  cautious- 
ly tries  his.  Finally  the  youngster  who 


originally  switched  eggs  on  you  cracks 
his,  only  to  find  it  is  raw. 

You  laugh,  and  ask,  "Think  I  don't 
know  a  raw  egg  when  I  see  one?" 
Fade  out. 

"THE  EASTER  PARADE" 

Perhaps  there  are  no  youngsters  in 
your  family  and  you'd  like  to  film  the 
Easter  occasion  from  an  adult  angle. 
There  are  numerous  running  gags  you 
can  employ.  For  instance,  you  can 
show  your  wife  all  decked  out  in  her 
new  finery  for  the  Easter  parade.  She 
urges  you  to  hurry  and  get  ready.  You 
start  to  dress,  then  she  admits  that 
she's  forgotten  to  iron  you  a  shirt.  You 
look  for  a  suit,  and  she  remembers  the 
dry  cleaner  hasn't  brought  it  yet.  She 
gets  impatient,  tells  you  to  hurry  and 
wear  something  and  that  she'll  start 
along. 

The  camera  follows  your  wife  as  she 
joins  the  Easter  parade,  one  of  numer- 
ous well  dressed  people.  Finally  there 
is  a  shot  of  you  hurrying  down  the 
street  garbed  in  hunting  cap,  boots  and 
a  disreputable  jacket.  When  you  finally 
catch  up  with  your  wife  she  is  horri- 
fied, and  there  is  a  fade  out  as  you 
continue  walking  down  the  street — 
ten  paces  behind  her. 

A  little  care  and  extra  time  can  lift 
your  Easter  film — or  any  film — from 
just  another  home  movie  to  something 
extra  special.  Continuity  or  a  running 
gag,  plus  effective  titles,  will  help  do 
the   trick. 


EVERYTHING  YOU  NEED 


TO  MAKE  BETTER  FILMS 


HERE'S  HOW  THE  AMATEUR  CINEMA  LEAGUE 
CAN  HELP  YOU  with  your  filming  interests  just 
as  it  has  advised  and  aided  more  than  100,000 
other  movie  makers: 

AS   A  MEMBER  YOU   RECEIVE 

1-The  ACL  MOVIE  BOOK  -  the  finest  guide  to 
8mm.  and  16mm.  movie  making.  311  pages  of 
information  and  over  100  illustrations.  This 
guide  sells  for  $3.00! 

2-MOVIE  MAKERS  -  the  ACL's  fascinating, 
friendly,  up-to-the-minute  magazine  —  every 
month.  Chock  full  of  ideas  and  instructions  on 
every  aspect  of  movie  making. 

PLUS  THE  FOLLOWING  LEAGUE  SERVICES 


■  •      / 


A   GUIDE    TO 


16MM.  FILMERS 


I       I       i       »       a       8       ;       [       t       »:       ,i       c       ^       .        :.       l,       !.,       .. 


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Continuity  and  Film  Planning  Service  .  .  .  planning  to  make 
a  movie  of  your  vacation?  of  your  family?  The  ACL's  con- 
sulting department  will  work  up  film  treatments  for  you,  full 
of  specific  ideas  on  the  planning,  shooting  and  editing  work. 
Special  forms  are  available  to  help  you  present  your  ideas 
to  the  consulting   department. 

Club  Service  .  .  .  want  to  start  a  club?  The  ACL  club  depart- 
ment will  give  you  helpful  tips  based  on  experience  with  clubs 
around  the  world  for  more  than  23  years. 

Film  Review  Service  .  .  .  you've  shot  your  film  and  now  you 
want  to  know  how  it  stacks  up?  Are  there  sequences  in  it 
that  you're  not  quite  sure  of?  Any  8mm.  or  16mm.  film  may 
be  sent  to  the  ACL  at  any  time  for  complete  screening,  de- 
tailed criticism  and  overall  review. 

Booklets  and  Service  Sheets  .  .  .  service  sheets  on  specific 
problems  that  you  may  come  up  against  are  published  at 
intervals.  They  are  yours  for  the  asking.  Current  booklets 
are:  The  ACL  Data  Book;  Featuring  The  Family;  Building  a 
Dual  Turntable. 


ALL  THIS  IS  YOURS  FOR  ONLY  $6.00  A  YEAR! 

(less  than  the  price  of  a  roll  of  color  film) 


EXTRA  -  NOW     AVAILABLE! 

Official  League  leaders  in  full  color! 

Official    League   lapel    pins   for  you 
to  wear! 

Official  League  stickers  for  all  your 
equipment! 


|  2-51 

l      AMATEUR    CINEMA    LEAGUE,    Inc. 

420    Lexington    Avenue 
;       New  York   17,  N.  Y. 

|  I  wish  to  become  a  member  of  the  ACL,  receiving 
the  ACL  MOVIE  BOOK,  Movie  Makers  monthly,  and 
all  the  League  services  for  one  year.  I  enclose  re- 
mittance for  $6  (of  which  $2  is  for  a  year's  sub- 
scription to  Movie  Makers)  made  payable  to  Amateur 
Cinema    League,    Inc. 

I 

|       Name 


Street, 


City_ 


Zone State. 


YOU'LL  SHOOT  AND  YOU'LL  SHOW 

WITH  THIS  SUPERIUR  8mm.  MOVIE  EQUIPMENT 


Two  Fine  "MAGAZINE  EIGHTS"  Now  there  are  two  models  of  the 
popular  Cine-Kodak  Magazine  8  Camera  .  .  .  ready  to  take  superior 
8mm.  movies,  indoors  or  out.  The  new  f/2.7  model  is  priced  very 
low  for  a  camera  of  such  excellence.  Its  13mm.  Lumenized  lens  needs 
no  focusing  .  .  .  lets  you  start  shooting  faster  .  .  .  takes  perfect-focus 
pictures  every  time.  It  accepts  interchangeable  lenses — 38mm.  f/2. 5 
and  40mm. //1. 6  telephotos.  The//1.9  model's  Kodak  Cine  Ektanon 
Lens  focuses  from  24  inches  to  infinity  .  .  .  interchanges  in  a  jiffy 
with  any  of  eight  wide-angle  and  telephoto  lenses.  Both  cameras  offer 
built-in  exposure  guides,  pulsating  scene-length  indicators,  choice  of 
four  speeds:  normal,  two  intermediate,  and  slow  motion.  Both  have 
extra-strong  motors  that  run  nearly  a  full  minute.  And  both  feature 
3-second  magazine  loading  that  lets  you  switch  film  any  time.  Whether 
you  choose  the//1.9  or  the  f/2.7,  a  Cine-Kodak  Magazine  8  Camera 
means  years  of  movie-making  pleasure.  With//2. 7  lens,  $127.50;  with 
//1.9  lens,  $147.50,  Federal  Tax  included. 

Two  Fine  "KODASCOPE  EIGHTS"  These  two  trim  Kodascope  8mm.  pro- 
jectors have  earned  top  approval  from  home  movie  fans  everywhere. 
Newest  is  the  Kodascope  Eight-71A,  a  smartly  styled  projector  with 
a  fast-action  automatic  film  rewind  that  makes  showings  easier  than 
ever.  An  ultra-fast  // 1.6  Lumenized  lens  combines  with  a  750-watt 
lamp  for  big,  bright  8mm.  movies.  But  when  even  greater  picture 
size  .  .  .  or  extra  brilliance  ...  is  needed,  the  "Eight-71A"  takes  a 
1000-watt  accessory  lamp  for  unsurpassed  on-the-screen  illumina- 
tion. Runs  coolly  and  quietly  .  .  .  threads  easily  .  .  .  has  400-foot  reel 
capacity  for  half-hour  showings.  The  price — $97.50.  The  efficient  Ko- 
dascope Eight-33  is  a  fine  8mm.  projector  priced  amazingly  low. 
Small,  compact,  light-in-weight,  the  "Eight-33"  features  an  excellent 
f/2  lens  and  500-watt  lamp  for  projecting  bright,  3-foot- 
wide  pictures.  The  Kodascope  Eight-33  is  a  fine  projector 
in  every  way.  And   best  of  all,  it's  priced  at  only  $65. 


Prices  subject  to  change  without 
notice.  Consult  your  dealer. 


EASTMAN  KODAK  COMPANY 

Rochester  4,  N.  Y. 


:    - 


SIMPLE   ZOOM   TITLES      •      USE   A   SHOT   PLOTTER      •      SYNCHRONIZING   TAPE 


NEW  ACL  PIN  YOU'LL  BE  PROUD  TO  WEAR 
AND  NEW  DECALS-NOW  AVAILABLE! 


THE  NEW  ACL  PIN 

Lettered  in  gleaming  metal*  on  a  center  of  rich  blue 
and  an  outer  circle  of  warm  red,  the  ACL  pin  is  one 
you'll  be  proud  to  wear.  It's  V2"  in  diameter  and 
comes  in  two  types:  screw-back  lapel  type  or  pin- 
back  safety  clasp.  $1.00  each. 


THE  NEW  ACL  DECALS 

Similar  in  design  and  coloring  to  the  pin,  the  ACL 
decals  are  as  practical  as  they  are  beautiful.  Identify 
your  camera  and  projector  cases,  gadget  bag,  film 
cans  with  this  proud  insignia.  2%"  by  3".  $.25  each, 
or  5  for  $1.00. 


AMATEUR    CINEMA    LEAGUE,    Inc.  3"51 

420   Lexington  Ave.,   New  York   17,    N.   Y. 

As  a  member  of  the  Amateur  Cinema  League,  I  am 
entitled  to  wear  the  new  handsome  membership  pin 
and  to  use  the  colorful  decals.  I  enclose  my  check  or 
money   order  for: 

~PINSn™"backkpel,ype       at  $1-00 

□  pin-back    safety    clasp  type        each 


-DECALS    at  $.25  each  or  5  for  $1.00 


NAME_ 


.ZONE STATE. 


AMATEUR  CINEMA  LEAGUE,  INC. 

420  Lexington  Avenue,  New  York  17,  N.  Y. 

March  195] 
TO  ALL  ACL  MEMBERS: 

Your  many  letters  asking  for  a  membership  pin  and 
decals  have  poured  into  the  League  offices  ever  since  the 
idea  was  born  in  the  fertile  mind  of  an  ACL  member. 

BOTH  PINS  AND  DECALS  ARE  NOW  AVAILABLE! 

No  effort  was  spared  in  designing  and  producing  the 
finest  membership  pin  obtainable.  It's  a  handsome  in- 
signia (Yz"  in  diameter)  that  you'll  be  proud  to  wear. 
A  center  of  rich  blue  enamel  sets  off  the  letters  "ACL," 
sharply  cast  in  burnished  metal.*  An  outer  circle  of 
warm  red  enamel  carries  the  legend  "MEMBER — 
AMATEUR  CINEMA  LEAGUE"  in  the  same  sparkling 
metal.*  But  you'll  have  to  see  this  pin  to  appreciate  its 
beauty  .  .  .  We're  enthusiastic  about  its  elegance! 

Wearing  the  ACL  pin  at  all  times  will  give  fellow 
members  and  others  the  opportunity  to  recognize  you 
immediately  as  a  member  of  the  world  wide  association 
of  amateur  movie  makers — the  ACL.  You,  in  turn,  will 
spot  other  members  at  home,  on  location,  on  vacations, 
at  club  meetings,  anywhere! 

The  pin  is  available  in  two  types:  the  screw-back  lapel 
type  for  your  suit  and  overcoat,  and  the  pin-back  safety 
clasp  type  suitable  for  wear  on  your  shirt,  sweater,  dress, 
blouse,  jacket,  windbreaker,  etc.  You  may  order  one  or 
both  types — $1.00  each  for  either  pin. 

The  decal,  carrying  out  the  same  rich  color  scheme  of 
the  pin,  has  many  practical  uses.  Its  2*4"  by  3"  size 
gives  you  ample  room  to  letter  in  your  name  and  address 
for  identification  of  your  equipment.  You  can  apply  it 
to  your  camera  and  projector  cases,  gadget  bag,  film 
cans,  on  your  car  or  home  windows,  or  any  other  smooth 
surface  you  wish.  Two  ACL  decals  will  be  mailed  to  you 
with  our  compliments.  Additional  decals  may  be  ordered 
at  $.25  each  or  5  for  $1.00. 

With  the  ACL  pin  and  decals  you  can  now  "exhibit" 
your  interest  in  movie  making,  making  yourself  known 
at  a  moment's  notice  to  other  League  members,  and  hav- 
ing others  recognize  you  as  a  filmer  with  standing.  I 
know  you'll  want  to  place  your  order  for  pins  and  addi- 
tional decals — right  now! 

Cordially, 

JAMES  W.  MOORE 
Managing  Director 

*  P.S.  ACL  members  of  one  through  four  years  standing  are  entitled  to 
wear  the  silver-plated  pin.  ACL  members  of  five  years  standing  (or  more) 
are  privileged  to  wear  the  gold-plated  pin.  .  .   .  We'll  send  the  right  one! 


MOVIE  MAKERS 


B   *    292344 


71 


They'll  sit  through  this  one  twice 


•  Once,  of  course,  because  here  is  a 
show  that's  got  everything.  Laugh- 
ter and  joy.  A  charming  young 
"actress."  A  plot  that  will  never 
grow  old. 

The  second  time,  we  think,  they'll 
stay  to  applaud  Ansco  Hypan — 
the  splendid  panchromatic  film  that 
gives  you  sharp,  crisp  screen  images 
which  look  so  wonderfully  natural. 


INSIST    O 


Whether  you're  shooting  indoors 
or  out,  you  can  count  on  Hypan's 
extremely  fine  grain  and  sparkling 
contrast  to  add  that  extra  some- 
thing which  makes  your  movies  bet- 
ter. Add  to  this  the  splendid  pan- 
chromatic balance  of  Hypan — its 
pleasing  scale  of  tonal  values — and 
you  can't  help  but  get  movies  with 
that  sought-after  professional  look. 


n  An 


Next  time  load  your  camera  with 
Ansco  Hypan  (available  in  8  or 
16mm  rolls)  and  discover  for  your- 
self why  so  many  amateurs  are 
turning  out  way  -  above  -  average 
home  movies. 

Ansco,  Binghamton,  New  York.  A 
Division  of  General  Aniline  &  Film 
Corporation.  "From  Research  to 
Reality." 


SCO     8    and   16MM    HYPAN    FILM 


72 


MARCH    1951 


COMMONWEALTH 


Announces 
THREE  New  Additions 

to  the 

Edward  Small  Group 
Now  making  |Q  in  all 


Count 

OF 

MOJVTE 

citfsro 


x;-~ 


1001S  IWN 

HaWMID-BENNETT< 

GEORGE 

SANDERS 


1  TkeSONoT% 

MONTE 

aasio 


^»''MM%m' 


MYSON,MySON  / 


"■oois  Hayword 


SSfSwrtW  JRON  MASK 


Biian  Donlevy, 


Miriam  Hopk 


KIT  CARSON  Andres 

THE  CORSON  BROTHERS 

Doualos  Fairbanks,  Jr., 


Douglas 
Akim  Tamiroit 


William  Gargan.    u»r 

Moo.e.  Peggy  "yan 

Randolph   Scoll.  Binn.e   o 
V/ilcoxon  _-«.i-e 

FRIENDLY  ENEWES^ 


For  Rentals  Communicale  : 
with  your  leading 
Pj     I6MM.   FILM   LIBRARY    W%, 


EXCLUSIVE    I6MM    DISTRIBUTORS 

COMMONWEALTH  PICTURES 

CORP. 

723    Seventh  Avenue.  New  York  19,  NY. 


THE  MAGAZINE  FOR 
8mm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


March 
1951 


The   reader  writes 

Zoom  titles  without  zooming 

Try  it  with  tape! 

Three-way   theatre 

How  to  make  bad   movies 

Comedy   in   closeups 

The  clinic 

The  shot  plotter 


George  Merz,  ACL 

Dr.    Leonard  J.   Martin,  ACL 

Benjamin   8.   Crocker 

Laurence    Critchell 

William  Messner,  ACL 

Aids  for  your  filming 

Daniel   Harris 


Cause   and   effect        Photographs  by  Leo  J.  Heffernan,  FACL 


News  of  the  industry 

Late   releases 

New    ACL    members 

Clubs 

Closeups 

Which   do  you  choose? 


Reports  on  products 
New  8mm.  and   16mm.  films 

People,  plans  and  programs 

What  filmers  are   doing 

Editorial 


74 
77 
80 
81 
82 
84 
88 
89 
90 
92 
94 
95 
96 
99 
102 


Cover  photograph  by  Remy  from  Frederic  Lewis 


DON  CHARBONNEAU 
Consultant  Editor 


ANNE  YOUNG 
Production  Editor 


JAMES  W.  MOORE 
Editor 


JAMES  YOUNG 
Advertising  Manager 


Vol.  26,  No.  3. 'Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
League,  Inc.  Subscription  rates:  §3.00  a  year,  postpaid,  in  the  United  States  and 
Possessions  and  in  Argentina,  Bolivia,  Brazil,  Chile,  Colombia,  Costa  Rica, 
Cuba,  Dominican  Republic,  Ecuador,  El  Salvador,  Guatemala,  Haiti,  Honduras^ 
Mexico,  Nicaragua,  Panama,  Paraguay,  Peru,  Spain  and  Colonies,  Uruguay  and 
Venezuela;  $3.50  a  year,  postpaid,  in  Canada,  Labrador  and  Newfoundland; 
other  countries  JS4.00  a  year,  postpaid;  to  members  of  Amateur  Cinema  Le/gue, 
Inc.,  $2.00  a  year,  postpaid;  single  copies  25£  (in  U.  S.  A.).  On  sale  at^hoto- 
graphic  dealers  everywhere.  Entered  as  second  class  matter,  August  V,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3,  1879.  Copyright, 
1951,  by  Amateur  Cinema  League,  Inc.  Editorial  and  Publication  Office:  420 
Lexington  Avenue,  New  York  17,  N.  Y.,  U.S.A.  Telephone  LExington  2-0270. 
West  Coast  Representative:  Wentworth  F.  Green,  6605  Hollywood  Boulevard,  Los 
Angeles  28,  Calif.  Telephone  HEmpstead  3171.  Advertising  rates  on  application. 
Forms  close  on   10th  of  preceding  month. 

CHANGE  OF  ADDRESS:  a  change  of  address  must  reach  us  at  least  by  the 
twelfth  of  the  month  preceding  the  publication  of  the  number  of  MOVIE 
MAKERS  w't-h  whicli  it  is  to  take  effect. 


MOVIE   MAKERS 


73 


World's  largest 

manufacturers  of 

Synchronized   Range 

Finders  and  Speed 

Flash  Synchronizers 

MlAXfi^ 

Producers  of 

Craig  Movie 

Editing 

Equipment 

Illustrated  —  Craig  Senior  Editor  Combination  with  Projecto-Editor,  Senior  Rewinds,  Senior  Splicer, 
Safety  Film  Cement,  Hardwood  Base.  Made  for  8mm.  or  16mm.  Price,  $69.50 

Put  new  thrills  into  Your  Movies 
with  a  Craig  Projecto-Editor 

LOOK  back  over  the  movies  you've  taken  —  then  think  how  you  can 
J  give  them  new  interest  by  editing  them  and  arranging  them  in  story- 
telling sequence.  For  instance,  you  can  create  a  sparkling  movie  showing 
the  year  by  year  growth  and  development  of  your  children.  Vacation 
pictures  become  twice  as  fascinating  when  you  eliminate  the  not-so-good 
sections — balance  long  shots  with  close-ups  -and  give  them  smooth  con- 
tinuity. Editing  is  the  secret  of  getting  applause  instead  of  yawns  when 
you  show  your  home  movies.  And  editing  is  simple  and  fun  when  you  use 
a  Craig  Projecto-Editor.  You  see  each  frame  on  a  big  314  x  4&i  inch  screen 
illuminated  to  match  the  brilliance  of  your  projection  screen.  Moreover, 
everything  is  right  at  your  finger  tips  for  fast,  accurate  editing.  Ask  your 
photo  dealer  for  a  demonstration  of  Craig  Movie  Editing  Equipment  to 
fit  your  needs  and  budget. 


CRAIG  MOVIE  EDITING 
EQUIPMENT  NOW 
MADE  BY  KALART 


Effective  January  1,  1951  Craig 
Movie  Editing  Equipment — Craig 
Projecto- Editors,  Splicers,  Rewinds, 
Film  Cement  and  other  Craig  products 
will  be  manufactured  and  sold  by  the 
Kalart  Company  Inc.,  Plainville, 
Conn. 

Users  of  Craig  products  can  feel 
every  confidence  that  the  high  quality 
standards  established  by  the  Craig 
Manufacturing  Company  will  be 
faithfully  maintained  by  the  Kalart 
Company.  Both  companies  have  had 
similar  business  histories.  Both  have 
been  pioneers  in  developing  new  prod- 
ucts to  make  photography  simpler  in 
procedure  —  more  exact  in  results; 
Craig  as  producers  of  precision  movie 
equipment — Kalart  as  inventors  and 
producers  of  the  Speed  Flash  syn- 
chronizer and  synchronized  range 
finder,  and  creators  of  the  "Camera 
of  Tomorrow." 

Craig  products  will  have  all  the 
benefits  of  Kalart  craftsmanship  — 
Kalart  technical  research— and  Kalart 
quality  control .  All  production  will  be 
carried  on  in  Kalart's  beautiful  and 
modern  "Factory  of  Tomorrow." 


FREE 


Craig  Movie  Editing  Booklet.  Prac- 
tical tips  and  tricks  on   editing  and 
illustrated  description   of  all  Craig 
equipment.  Mail  coupon  today. 


I 


Craig  Senior  Splicer—  Built-in 
scraper  eliminates  wetting  film. 
Just  insert,  cut,  dry  scrape,  apply 
film  cement  and  splice.  $15.00. 


Craig  Junior  Geared  Rewind  — 
Handles  8mm.  reels  up  to400  ft.  ca- 
pacity. Entirely  enclosed  and  dust- 
free.  $2.50  each  or  $5.00  the  pair. 


Craig  Safety  Film  Cement 
—  Quickly  welds  film  to- 
gether in  positive  splice. 
Handy  applicator  cap. 30^ 


The  Kalart  Company  Inc.      Dept.    MM-3 

Plainville,  Conn. 

Please  send  free  Craig  Movie  Editing  booklet. 

Name 

Street    

City State 

Make  of  camera 8mm  .  .  16mm  .  . 

Make  of  projector 

Name  of  photo  dealer 


KALART 


74 


MARCH    1951 


This  department  has  been  added  to  Movie  Makers 
because  you,  the  reader,  want  it.  We  welcome  it 
to  our  columns.  This  is  your  place  to  sound  off. 
Send  us  your  comments,  complaints  or  compli- 
ments. Address:  The  Reader  Writes,  Movie 
Makers,  420  Lexington  Ave.,  New  York  17,  N.  Y. 


WHY   A   LICENSE? 

Gentlemen:  Referring  to  the  letter 
(Card  Stops  Cop)  from  A.  T.  Wilson, 
ACL,  in  the  February  issue,  it  is  good 
to  know  that  the  value  of  our  mem- 
bership card  is  recognized  in  Tyler, 
Texas. 

But  will  some  blowhard  from  that 
befuddled  town  please  explain  exactly 
why  any  photographer  should  require 
a  license  to  take  pictures  there  on  the 
public  streets?  Is  it  in  the  interest  of 
revenue,  or  just  a  shining  example  of 
municipal  dumbness? 

In  other  words,  cupidity  or  stupid- 
ity? 

A.  Dudleigh  Jewell,  ACL 
Oradell,  N.  J. 

QUESTIONS   "MISS   KITTY" 

Dear  Mr.  Moore:  In  connection  with 
my  January  story,  Starring  Miss  Kitty, 
I  have  recently  received  a  letter  which 
disturbs  both  Mrs.  Thomas  and  me  in 
the  extreme.  Since  my  correspondent 
did  not  have  the  courtesy  (or  was  it 
the  courage?)  to  include  a  return  ad- 
dress, I  cannot  reply  to  him  (or  her) 
directly;  nor  may  we  (I  and  yourselves) 
quote  his  correspondence  save  indirectly 
— as  follows: 

"Sir:  Your  article  called  Starring  Miss 
Kitty  has  just  come  to  my  attention.  In 
spite  of  the  attractive  pictures,  the  im- 
pression it  leaves  with  me  is  one  of 
dubious  pleasure. 

"This  kitten  was  taken  into  your  home, 
a  waif,  friendless  and  alone  .  .  .  You 
taught  her  to  look  to  you  for  food  and  all 
the  creature  comforts  so  dear  to  cats.  You 
gladly  used  her  for  your  needs  and  amuse- 
ments. All  this  you  did. 

"But  then,  when  to  your  reasoning  she 
was  no  longer  wanted,  what  then  did  you 
do?  Did  you  betray  her  and  cause  her 
short,  happy  life  to  be  ended?"  (signa- 
ture withheld). 

We  had  written  in  Movie  Makers. 
you  may  recall,  that  we  never  regretted 
one  moment  spent  in  producing  The 
Witch  Cat.  "Especially  now."  we  con- 
cluded, "for  Miss  Kitty  only  recently 
joined  her  witchly  godmother  in  the 
true  world   of  the   spirits." 

How  anyone — even  confirmed  felino- 
philes,  who  sometimes  are  a  little  queer 
— could  misunderstand  that  statement  is 
beyond  belief.  But  to  reassure  our  cor- 
respondent. Daisy  (The  Witch  Cat) 
died    from    natural   causes    and   is    still 


mourned  by  our  entire  family.  Our  one 
consolation  is  that  her  daughter.  Maisie. 
is  the  spit  and  image  of  her  mother  and 
is  pampered  even  more  than  Daisy  was 
— if  that  is  possible. 

William  A.  Thomas.  ACL 
Buffalo,  N.  Y. 

HAS   BEEN   WAITING    FOR 

Dear  Reader  Writes:  In  the  Novem- 
ber article  by  George  Merz.  ACL, 
called  Good-by  Parallax!  is  something 
I  believe  every  amateur  has  been  wait- 
ing for.  Do  you  think  they  will  ever 
put  such  a  thing  on  the  market  for 
say  my  Revere  Turret  99  or  other  8mm. 
cameras? 

Douglas  Archer,  ACL 
Beverly  Hills,  Calif. 

We  doubt  it.  Better  make  it  yourself — 
or  have  it  made. 

DIFFICULT  TO  ACCEPT 

Dear  Mr.  Moore:  I  enjoyed  Charles 
DuBois  Hodges's  astute  Stereo  article 
(November)  pointing  up  the  value  of 
camera  and/or  subject  motion  as  a 
depth  perception  aid.  But  I  find  his 
explanation  of  the  physiological  psy- 
chology involved  a  little  difficult  to 
accept. 

I  cannot  conceive  that  my  "mind 
retains  each  successively  different  image 
long  enough  to  fuse  it  into  a  stereo- 
scopic impression  with  the  next  subse- 
quent image  from  a  slightly  different 
angle"  .  .  .  inventing  its  own  mental 
interpupilary  distance  in  the  process. 
I  believe  that  the   added  spacial   feel- 


Leo  J.   HefFernan,    FA 


ing  Mr.  Hodges  reports  is  due  to  the 
relative  angular  movement  between  fore- 
ground and  background  objects — an  ef- 
fect familiar  to  anyone  who  has  watched 
the  landscape  from  the  window  of  a 
moving  railway  coach. 

The  above,  I  realize,  does  not  ex- 
plain the  increased  modeling  effect  of 
a  moving  light  source,  a  phase  of  Mr. 
Hodges's  discussion  I  found  especially 
interesting  ...  In  any  case,  I  am  con- 
vinced that  it  has  little  to  do  with 
mental  after-images  producing  pseudo- 
Cyclopian   stereovision. 

Jack  E.  Gieck,  ACL 
Detroit,  Mich. 

Huh? 

LOW   COST   LIGHTING 

Dear  Movie  Makers:  Those  articles 
you  have  been  running  on  lighting,  with 
specially  made  pictures  by  Leo  J.  Hef- 
fernan,  FACL.  I  have  found  very  in- 
teresting, not  to   say  impressive. 

But,  frankly,  the  professional  calibre 
of  the  lighting  units  used  by  the  man 
tend  to  frighten  me  away  from  trying 
what  he  teaches.  Do  you  really  believe 
us  home  filmers  can  get  the  same  ef- 
fects with  our  low-cost  equipment? 

Hal  McCullough 
Des  Moines,  Iowa 

Figuring  Mr.  Heffernan  was  the  best 
man  to  answer  this  one,  we  requested 
him  to  reply  as  he  saw  fit.  His  proof  is 
presented  in  the  picture  on  this  page. 
See   its  caption  for  equipment   data. 

FILM  SPEEDS  DIFFER 

Dear  Reader  Writes:  I  hope  I  am 
not  too  late  to  contribute  to  the  inter- 
esting discussion  on  the  relative  speeds 
of  American  and  English  Kodachrome. 
However.  I  have  had  experience  of 
both  these  films  over  the  past  four  years 
and  I  have  found  English  Kodachrome 
one  half  to  a  full  stop  slower  than  the 
American.    English    color    rendition    is 


FOUR-POINT  LIGHTING  FORMULA,  with  simple,  standard  home  units,  is  here  demonstrated  for  the 
doubting  by  author  HefFernan.  Both  key  light  (left)  and  fill  light  are  No.  2  floods  in  metal  reflectors 
(note  diffusion  screens).  Back  light  comes  from  an  inexpensive  photoflood  spot  unit,  while  the  back- 
ground is  lit  by  a  clamped  RSP-2  lamp  concealed  behind  the  furniture  at  right. 


MOVIE   MAKERS 

also  more  subdued,  but  excellent  at  the 
right  exposure. 

Readers  also  may  be  interested  to 
hear  that  I  have  had  similar  experience 
with  English  Cine-Kodak  Super  X, 
which  appears  to  be  slower  by  one 
half  to  a  full  stop  than  its  American 
counterpart. 

J.  S.  Campbell 
Lower  Hutt,  New  Zealand 


75 


In  this  column  Movie  Makers  offers  its  readers 
a  place  to  trade  items  of  filming  equipment  or 
amateur  film  footage  on  varied  subjects  directly 
with  other  filmers.  Commercially  made  films  will 
not  be  accepted  in  swapping  offers.  Answer  an 
offer  made  here  directly  to  the  filmer  making  it. 
Address  your  offers  to:  The  Swap  Shop,  c/o 
Movie  Makers. 


HERNE   BAY   FOR  MONTREAL 

Gentlemen:  Is  there  a  reader  in  or 
near  Heme  Bay,  Kent,  England,  who 
could  shoot  me  100  feet  of  8mm.  Koda- 
chrome  scenes  from  a  list  to  be  sup- 
plied by  the  undersigned? 

I  could  either  mail  the  raw  film  or 
will  gladly  exchange  equal  footage  on 
scenes  around  Montreal.  Please  reply 
by  airmail  if  interested. 

Sidney  D.  Rose 
1  Ellerdale  Road,  Apt.  25 
Hampstead,  Quebec,  Canada 

PRE-WAR  GUAM? 

Gentlemen:  I  have  been  wondering  if 
we  have  any  members  who  were  in  this 
section  of  the  Pacific  (either  as  a 
service  man  or  in  a  civilian  capacity) 
who  might  have  movies  or  stills  taken 
during  or  before  World  War  II. 

I  am  at  present  completing  a  series 
of  16mm.  color  films  on  Guam  and  the 
islands  of  this  particular  area,  but  I 
have  nothing  with  which  to  compare 
my  postwar  rehabilitation  shots.  I 
would  be  most  happy  to  correspond 
with  anyone  who  might  be  able  to  help 
me  in  this  matter. 

Kenneth  R.  Fletcher,  ACL 
Civilian  Men's  Housing  Area 
APO  246.  Guam,  M.  I. 
c/o  PM,  San  Francisco,  Calif. 

FARM  SCENES  FOR  SITES 

Dear  Movie  Makers:  I  need  15  or  20 
feet  of  16mm.  Kodachrome  footage  of 
Plymouth  Rock,  at  Plymouth,  Mass., 
and  the  same  amount  of  the  Golden 
Gate  or  the  Golden  Gate  Bridge,  at 
San  Francisco.  In  return,  I  am  espe- 
cially well  situated  to  swap  livestock, 
rural  and  farming  scenes. 

R.  M.  Gridley 
148  Market  Street 
Beaver,  Pa. 


ISmm 


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77 


ZOOM  TITLES   WITHOUT  ZOOMING 

Merz,  the  magician,  tells  how  to  use  single  frame  filming  in   the  creation  of  moving  titles 
GEORGE    MERZ,    ACL 

WE  all  like  movement  in  our  movies.  Why  not.  then,  use  movement  in 
our  titles?  Pondering  this  problem,  I  studied  the  many  amateur  films 
it  is  my  pleasure  to  see  at  movie  club  meetings.  I  found  that  the 
majority  of  them  employed  no  movement  of  any  kind  in  their  titling;  that  a 
few  used  such  effects  as  the  dissolve,  wipe,  flip-flop  or  scroll;  but  that  virtually 
none  of  them  used  the  zoom-camera  effect. 

How  come,  I  asked  myself.  Analyzing  the  basic  problems  involved,  it 
seemed  to  me  that  two  difficult  technical  operations  stood  in  the  way  of  the 
home-produced  zoom  title.  These  were  (1)  creating  some  method  of  satin- 
smooth,  continuous  movement  of  either  the  camera  or  the  title,  and  (2)  evolv- 
ing some  system  of  continuously  changing  the  camera  focus  in  step  with  this 
movement. 

SYSTEM  BASED  ON  SINGLE  FRAMES 
There  was  no  doubt  in  my  mind  that  these  two  exacting  operations  were 
what  had  put  the  zoom  title  out  of  the  amateur's  reach.  But  the  effect  itself 
still  intrigued  me.  I  set  out  to  find  a  method  of  making  zoom  titles  without 
zooming.  That  method  was  first  used  successfully  in  the  lead  title  assembly 
of  my  film,  Circus  Time,  which  I  am  grateful  to  say  the  ACL  ranked  among 
the  Ten  Best  of  1950.  Based  on  single  frame  filming,  it  is  now  presented  in 
full  on  these  pages.  Through  it.  the  great  majority  of  movie  makers  can  now 
add  the  zoom  title  to  their  bag  of  tricks.  All  that  you  need  is  a  camera  with 
a  focusing  lens,  some  approximation  of  a  single  frame  release  and  some 
method  of  visually  focusing  the  lens. 

ADD  A  CAMERA  CARRIAGE 
We  will  assume,  to  begin  with,  that  you  have  an  accurately  aligned  method 
of  title  making — preferably  horizontal.  You  must  now  add  to  this  some  sys- 
tem of  moving  the  title  card  toward  the  camera,  or  the  camera  toward  the 
card.  Since  my  titling  board  is  fastened  to  the  wall,  I  decided  that  the  latter 
method  was  easier  to  control;  so  a  pair  of  wooden  rails  were  fastened  to  the 
top  of  an  old  radio  cabinet  I  any  other  flat  surface  will  do).  Then  a  camera 
carriage  was  made  from  a  piece  of  hardwood  mounted  on  four  accurately 
shaped  wooden  wheels  and  two  metal  axles.  The  camera  will  be  attached  to 
this,  of  course,  via  the  tripod  socket  or  by  use  of  the  detachable  pan  head  of 
your  tripod.  Figs.  1.  2,  4  and  5  will  show  you  the  general  design  of  these 
accessories. 

HOW   NEAR,   HOW   FAR? 

We  come  now  to  some  decisions  about  distance.  It  should  be  obvious  that 
the  nearest  distance  your  camera  may  be  advanced  toward  the  title  card  is 
determined  automatically  by  the  size  of  its  type  area  with  an  acceptable  space 
area  still  around  it.  For  example,  using  your  standard  lens,  your  camera 
cannot  be  advanced  nearer  than  about  24  inches  without  beginning  to  crowd 
a  6%  inch  type  area  on  a  9  inch  wide  space.  This  does  not  mean,  however, 
that  the  title  card  itself  need  be  only  9  inches  in  width — as  will  be  seen  shortly. 

This  minimum  of  24  inches  from  camera  to  card  was  the  distance  at 
which  I  chose  to  work.  For  steadiness  I  had  made  the  wooden  tracks  about 
48  inches  long.  Reserving  6  inches  as  a  base,  meant  that  I  could  draw  back 
the  camera  from  the  card  a  total  of  66  inches  and  begin  the  zoom  effect  at 
that  point.  But  this  would  mean  executing  an  unnecessarily  long  and  tedious 
zoom.  After  some  preliminary  figuring  and  rough  tests,  I  decided  on  a  total 
of  36  inches  for  the  distance  over  which  the  camera  would  advance.  Adding 
this  to  the  24  inch  minimum  camera-to-card  distance  meant  lettering  my  title 
on  a  card  at  least  22  inches  wide. 

USE  A  YARDSTICK 

With  this  settled,  I  attached  a  yardstick   (see  Figs.  1,  2  and  4)    on  the 

operating,   or   right  hand,   side   of  the   camera  tracks.   It  was  positioned  to  ZOOM  EFFECT,  created  solely  by  single  frame 

be  read  in  the  normal  way  from  left  to  right,  which  meant  that  the  zero  end  exposures,   is  seen   in   eight  selected   frames. 


78 


FIG.    1:    The    author's    general    setup,    including 
homemade  camera  carriage  and  tracks,  is  above. 


FIG.   2:    Here,    both   camera   carriage   and   focus- 
ing   pointer   are    at    17.    Note    yardstick    at   side. 


FIG.  3:  Closeup  of  the  focusing  dial  and  pointer 
shows    their    mounting    around    the    lens    barrel. 


was  farthest  from  the  title  and  the  "36"  end  the  closest,  i  then  attached 
a  wooden  pointer  to  the  forward  end  of  the  camera  carriage  (see  Figs. 
2  and  4)  which  would  extend  over  and  "read"  the  graduations  of  the 
yardstick.  The  plan  was  to  start  the  camera  at  the  zero  end  of  the  tracks, 
move  it  forward  an  inch  at  a  time,  and  at  each  inch-pause  expose 
another  frame.  The  zoom  then  would  be  animated  over  but  37  frames, 
including  one  shot  at  zero. 

Any  such  method  meant,  of  course,  that  for  critical  sharpness  of 
image  the  focal  setting  of  the  lens  had  to  be  adjusted  in  step  with  each 
move  forward.  For  a  one-time  use  of  the  method,  this  could  have  been 
done  simply  by  advancing  the  camera  an  inch,  visually  focusing  the  lens, 
exposing  the  single  frame  and  then  repeating  this  routine  through  36 
more  camera  stations.  But  any  such  system  was  obviously  tedious  and  a 
waste  of  effort.  To  avoid  it,  two  things  were  needed:  (1)  some  method 
of  recording  permanently  the  37  lens  focal  settings,  and  (2)  some 
means  of  coordinating  these  settings  with  the  inch  units  of  the  yard- 
stick accurately  and  repeatedly. 

MAKE  A  FOCUSING  DIAL 

We  began  by  cutting  a  firm  piece  of  poster  board  in  the  fan  shape 
seen  in  Figs.  2  and  3.  A  snug  hole  was  then  cut  through  the  cardboard 
equal  in  diameter  to  the  mounting  thread  of  the  lens.  Now,  by  unscrew- 
ing the  lens  from  its  mount,  slipping  the  cardboard  around  it  from 
behind,  and  then  screwing  the  lens  back  tightly  in  its  mount,  the  card- 
board fan  was  held  firmly  in  position.  (The  fact  that  the  thickness  of 
the  cardboard  acts  as  a  shim  to  extend  slightly  the  focal  length  of  the 
lens  does  not  matter,  since  all  focal  settings  are  determined  visually.) 
Finally,  so  that  the  cardboard  could  always  be  installed  in  exactly  the 
same  relation  to  the  lens's  focal  system,  telltale  reference  marks  were 
placed  on  the  card  and  on  the  lens  barrel. 

This  card  was  to  serve  as  a  dial  of  focal  settings.  But  before  it  could 
be  marked  out  as  such,  a  pointer  had  to  be  devised  to  transfer  these 
settings  from  the  focusing  ring  of  the  lens  (see  Fig.  3).  To  do  this,  a 
rubber  lens  guard  with  a  fingertip  flap  was  used  as  a  base  for  the 
pointer.  By  cutting  out  its  flat,  lens-guarding  face,  a  strong  rubber  ring 
was  created  which  fitted  tightly  around  the  focusing  ring  of  the  lens. 
A  pointer  was  then  shaped  from  thin  steel  (it  could  be  most  any  mate- 
rial) and  its  rear  end  was  fastened  to  the  fingertip  flap  with  several 
layers  of  Scotch  tape.  Here  again  other  methods  of  fastening  might  do. 

COMPUTING  FOCAL  SETTINGS 

We  are  now  ready  to  lay  out  the  series  of  graduated  focal  settings 
on  the  dial.  This  is  done  as  follows:  draw  back  the  camera  on  its  car- 
riage until  the  pointer  on  the  carriage  is  aligned  with  zero,  or  the  far 
end  of  the  yardstick.  With  your  lens  wide  open,  focus  it  visually  on  the 
title.  When  this  focus  has  been  arrived  at,  the  lens  pointer  should  be 
aiming  at  the  upper  corner  of  the  fan  shaped  card.  If  it  is  not  pointing 
in  that  direction,  its  aim  can  be  adjusted  by  slipping  the  rubber  ring 
around  the  lens  barrel.  But  take  care  not  to  change  the  focus  in  making 
this  adjustment. 

With  the  lens  pointer  in  the  correct  position  for  zero  on  the  yard- 
stick, make  a  sharp  pencil  mark  on  the  card  at  the  pointer  tip.  You 
may  now  continue  to  mark  in  all  of  the  other  36  focal  settings  on  the 
dial.  You  will  find,  however,  that  trying  to  do  this  by  one-inch  advance- 
ments of  the  camera  along  the  yardstick  is  difficult  because  of  the  very 
slight  change  in  focus  created.  After  experiment,  I  settled  on  advances 
of  6  inches  at  a  time. 

Thus,  your  first  series  of  advances,  focusings  and  markings  will  be 
made  at  the  yardstick  stations  of  0—6—12—18—24 — 30  and  36.  Now 
move  the  camera  back  to  3  on  the  ruler  and  proceed  through  3 — 9 — 15 — 
21 — 27  and  33.  At  this  point  you  may  abandon,  if  you  wish,  this  sys- 
tem of  actually  focusing  and  marking  each  setting,  and  simply  divide 
each  3  inch  segment  on  the  dial  into  three  equal  units.  This  probably 
will  create  an  accurate  enough  focal  setting.  My  practice,  however,  was 
to  continue  through  four  more  series  of  6  inch  advancements.  These 
are  2—8—14—20—26  and  32;  4—10—16—22—28  and  34;  5 — 11 — 
17 — 23 — 29  and  35;  7—13—19—25  and  31. 


79 


FIG.    4:    Detail    of    camera    carriage,    tracks,    yardstick    and    pointer 
shows    their    operation.    Long    cable    release    makes    for    steadiness. 

You  will  now  have  37  pencil  points  (from  0  through 
36)  marked  on  the  edge  of  your  card.  Remove  it  from 
the  camera  and,  locating  with  a  compass  the  imaginary 
center  of  the  pivot  hole,  rule  out  radial  guide  lines  to 
each  of  these  points.  Your  focusing  dial  is  now  ready  for 
use  in  making  zoom  titles. 

THE  ZOOM  TECHNIQUE 

At  the  beginning  of  each  such  filming  session,  however, 
I  believe  that  you  will  be  wise  to  check  the  following  be- 
fore proceding:  (1)  be  sure  that  the  dial  card  is  accu- 
rately positioned  on  the  lens  in  relation  to  the  reference 
marks  made  for  that  purpose;  (2)  with  the  camera  at 
zero  position  on  the  yardstick  and  the  lens  pointer  at 
zero  on  the  dial,  check  the  focus  visually  to  be  sure  that 
the  pointer  has  been  accurately  attached  again  to  the  lens. 

From  there  on  in,  you  can  work  swiftly  and  surely  by 
referring  only  to  the  yardstick  and  the  focusing  dial.  The 
procedure,  of  course,  is  to  begin  at  zero,  expose  a  single 
frame,  advance  the  camera  to  the  1  inch  point  on  the 
yardstick,  adjust  the  focusing  ring  of  the  lens  so  that  the 
dial  pointer  is  on  "1,"  expose  another  single  frame,  and 
so  on  through  each  one-inch  station  on  the  yardstick. 
After  your  single  frame  exposure  at  No.  36,  the  zoom  part 
of  the  title  will  be  complete.  However,  enough  added 
footage  should  now  be  exposed  to  keep  the  title  on  the 
screen  long  enough  for  it  to  be  read.  Remember,  here, 
that  if  you  now  shoot  normally  (instead  of  single  fram- 
ing), an  adjustment  must  be  made  in  the  exposure.  How- 
ever, it  is  recommended  that  this  extra  footage  also  be 
single  framed  to  insure  an  even  exposure. 

VARYING  ZOOM  SPEEDS 
Creating  a  zoom  over  37  frames  makes  it  a  short  and 
snappy  one  which  is  generally  desirable.  However,  there 
is  considerable  latitude  in  the  effects  you  can  achieve  with 
this  system.  If  you  wish  a  truly  slow  zoom,  this  can  be 
created  by  setting  the  camera  carriage  pointer  at  every 
half  inch  station  on  the  yardstick,  with  a  corresponding 
adjustment  of  the  focusing  pointer  half  way  between  the 
existing  one  inch  markings.  The  same  method  may  be 
used  in  the  beginning  to  get  a  zoom  off  to  a  slow  start; 
then,  by  widening  the  units  of  camera  advance  between 
exposures,  the  zoom  can  be  made  to  speed  up  to  a  flash- 


FIG.  5:  With  the  camera   advanced   to  front  end   of  track,   24 
inches  from   card,  the   author   is   here  doubling   in   background. 

ing  finish.  Or,  by  inverting  this  technique,  your  zoom  can 
get  off  to  a  fast  start  and  end  with  slow  smoothness. 

HANDLING  THE  BACKGROUND 
Thus  far  (see  the  setup  in  Fig.  1)  we  have  concerned 
ourselves  with  the  zoom-filming  of  the  white  title  letters 
only.  Actually  the  blue  background  card  and  the  two 
decorative  figures  (see  Fig.  5  and  the  title  strip)  were 
added  by  double  exposure  in  all  of  my  Circus  Time  titles. 
This  added  manipulation,  however,  is  not  at  all  necessary 
in  using  this  zoom  title  system.  If  your  titles  are  white- 
lettered  directly  on  a  plain,  colored  card,  there  will  be 
no  problem  at  all.  If  you  add  decoration  to  this  card,  the 
only  effect  will  be  that  the  decor,  as  well  as  the  title,  zooms 
forward  on  the  screen. 

The  effect  gained  by  double  exposing  in  the  decorated 
background  is  different  and,  perhaps,  more  attractive. 
On  the  Circus  Time  titles  the  figures  of  the  dog  and  the 
clown  remain  stationary  and  of  the  same  size,  while  the 
titles  zoom  forward  neatly  between  them.  If  you  wish  to 
follow  the  double  exposure  system,  simply  set  your  camera 
at  the  nearest  forward  position  (No.  36,  which  in  my 
case  was  24  inches  from  the  title),  adjust  the  focus 
pointer  accordingly  and  shoot  at  normal  camera  speed 
enough  footage  to  cover  the  single-framed  title  exposures. 

EASY  DOES  IT 

All  of  the  above  may  sound  very  complex  and  involved. 
Actually  it  is  quite  simple.  The  only  wholly  new  filming 
accessory  it  calls  for  is  the  focusing  dial;  and  once  this 
has  been  worked  out,  you  are  in  the  zoom-filming  busi- 
ness for  keeps.  Many  movie  makers  already  work  with 
titlers  providing  for  some  sort  of  forward  and  back  move- 
ment of  the  camera.  And  remember,  this  movement  need 
not  be  satin-smooth,  for  no  picture  is  ever  taken  with  the 
camera  in  motion.  All  you  will  need  to  add  to  this  setup 
is  the  yardstick. 

And,  if  your  camera  is  not  equipped  with  a  single 
frame  release,  you  still  may  obtain  very  satisfactory  re- 
sults simply  by  tripping  the  shutter  release  for  the  smallest 
fraction  of  time.  Even  if  you  occasionally  expose  two 
frames  by  this  system,  it  will  have  little  visual  effect  in 
zoom  titling.  After  all,  you're  not  animating  a  Disney 
cartoon. 


80 


TRY  IT  WITH  TAPE! 


A  member  of  the  Minneapolis  Cine  Club,  ACL,  describes  his 

successful  tests  in  synchronizing  magnetic  tape  and  movies 


DR.    LEONARD    J.    MARTIN,    ACL 

THERE  have  been,  as  many  of  you  will  know,  a  num- 
ber of  interesting  and  helpful  articles  in  late  issues 
of  Movie  Makers  on  synchronizing  magnetic  wire 
recordings  with  our  amateur  films.  Perhaps  the  most 
basic  of  these  was  the  fine  discussion  by  Warren  A.  Lev- 
ett,  ACL,  Synchronizing  Sound  on  Wire,  in  April,  1949. 
However,  sound  on  tape  scoring  seems  to  have  been 
overlooked,  as  if  synchronization  with  that  medium 
could  not  be  achieved.  Since  I  happen  to  prefer  tape  to 
wire,  I  decided  to  find  out  just  how  well  such  synchrony 
could  be  maintained  between  recorder  and  projector. 
Here  were  the  experiments  I  conducted. 

TEST  EQUIPMENT  USED 
First  let  me  itemize  the  equipment  used.  These  were  a 
Bell  &  Howell  16mm.  sound  projector,  a  Kodascope 
Pageant  sound  projector  (for  variety!,  a  Revere  tape 
recorder,  a  line  voltage  regulator  and  a  Castle  Films 
newsreel.  The  voltage  regulator,  I  believe,  is  almost  a 
necessity  in  any  kind  of  sound  synchronizing,  since  line 
voltage  is  likely  to  vary  in  your  home  or  club  meeting 
place  by  as  much  as  10  to  15  volts  from  its  rated 
strength.  In  my  tests  it  was  used  to  control  the  power 
supply  to  both  projector  and  recorder.  The  Castle  film 
selected  was  Crisis  in  Korea,  which  has  strongly  marked 
passages  of  gunfire,  music  and  narrative. 

GETTING  READY   FOR  TEST 

My  first  test  was  made  using  the  B  &  H  projector, 
with  it  set  to  run  at  sound  speed.  This  projector  was 
first  thoroughly  warmed  up,  and  then  the  sound  film  was 
threaded  into  position  so  that  the  number  "3"  (at  the 
beginning  of  the  film)   was  just  above  the  gate. 

The  recorder  was  warmed  up  in  like  manner,  and  the 
proper  levels  for  recording  were  tested  and  marked 
with  red  crayon  on  the  dials.  The  tape  was  then  threaded 
into  position  over  the  exact  center  area  of  the  recording 
head,  with  this  positioning  marked  on  the  tape  with  a 


TRIPLE  TURNTABLES,  with  author  at  the  controls,   provide  ample 
facilities  for  re-recording   music  and   narrative  on  tape. 


red  crayon.  An  electrical  connection  was  now  made  be- 
tween the  recorder  and  the  sound  system  of  the  B  &  H 
projector.  This  was  created  by  using  the  wire  with  two 
clamps  at  one  end  and  a  radio  jack  at  the  other,  which 
comes  with  the  Revere  recorder  for  direct  recording  from 
your  radio.  In  my  instance,  the  clamps  were  attached 
to  the  voice  coil  of  the  Filmosound  speaker  unit  and 
the  line  then  plugged  into  the  recorder  as  usual. 

Now,  with  all  equipment  warmed  and  ready,  I  threw 
the  clutches  which  simultaneously  started  the  projector 
and  recorder.  From  then  on,  without  a  break,  I  recorded 
the  sound  from  the  full  reel  of  film. 

PLAYBACK  IS   PERFECT 

Now  for  the  test !  The  film  and  tape  were  rewound  and 
positioned  exactly  as  outlined  at  the  beginning.  The  wires 
were  removed  from  the  voice  coil  of  the  Bell  &  Howell 
speaker  and  connected  now  to  another  12  inch  perma- 
nent magnet  speaker,  thus  hooking  it  up  with  the  re- 
corder. This  speaker  was  placed  alongside  the  Bell  & 
Howell  speaker,  about  25  feet  distant  from  the  projector. 
The  two  machines  were  started  simultaneously,  as  be- 
fore, and  the  volume  on  the  tape  recorder  brought  up 
a  little  higher  than  that  of  the  projector. 

In  this  way  any  deviation  of  synchronization  would 
be  readily  noticed,  even  to  a  small  "echo"  effect  which 
is  created  by  a  minor  difference.  The  sound  matched 
perfectly!  (And  was  I  happy!)  During  a  later  run,  a 
slight  echo  effect  did  develop;  but  with  a  turn  of  the 
little  speed-up  clutch  arm  of  the  Revere,  the  tape  jumped 
ahead  about  2  or  3  inches  and  the  two  units  again  stayed 
in  sync  throughout.  This  deviation  happened  only  once 
in  many,  many  test  runs.  The  rest  were  perfect. 

However,  to  give  my  tests  more  universality,  I  re- 
peated them  using  the  new  Eastman  Pageant  sound 
projector,  but  with  the  tape  recorded  from  the  B  &  H 
playing.   The   results   were   also   very  satisfactory. 

SCORING  OWN  FILMS 

Since  then  I  have  added  sound  on  tape  to  several  of 
my  own  films,  which  are  cued  very  accurately  from  my 
eleven  years  of  experience  in  adding  music  and  sound 
effects  via  a  triple  turntable  unit.  With  these  prepared, 
I  then  demonstrated  my  test  film  and  my  own  produc- 
tions at  a  meeting  of  the  Minneapolis  Cine  Club.  Since 
this  demonstration,  several  other  club  members  (James 
Brown,  Earle  Ibberson,  ACL,  Stanley  Berglund  and  G.  L. 
Larson)  have  added  sound  on  tape  to  their  films. 

Our  next  project  is  to  make  up  a  set  of  standards 
or  rules  for  tape  scoring,  similar  to  the  general  rules 
of  filming.  For  example:  the  musical  volume  should  be 
lower  than  the  spoken  voice;  constant  narration  is  un- 
necessary; do  not  ad-lib,  but  read  from  a  written  script; 
do  not  use  narration  during  some  well-composed  pas- 
toral scene,  where  the  music  should  be  brought  out 
slightly  to  emphasize  the  scene,  and  so  on.  At  a  later 
date,  we  shall  try  to  pass  on  our  suggestions  to  all  of 
you  interested  in  these  projects. 


81 


THREE-WAY 


Photographs   by    Crocker    Films 


THEATRE 


BENJAMIN    B.    CROCKER 

HERE  was  this  room  in  the  basement  of  our  new 
apartment  on  Marlboro  Street.  It  measured  9  by  21 
feet  and,  as  far  as  anyone  else  was  concerned,  it 
was  mine,  all  mine,  to  do  with  as  I  wished.  To  any  true 
movie  maker  there  could  be  but  one  answer — build  a 
home  theatre. 

This  was,  in  time,  exactly  what  I  did.  But,  relatively 
small  though  the  space  was,  I  wanted  more  from  it  than 
just  a  projection  hall.  Along  with  that  I  hoped  to  create 
a  completely  equipped  sound  recording  studio  and  dub- 
bing room,  as  well  as  a  small  but  efficient  sound  stage. 
Since  many  serious  minded  amateurs  may  have  similar 
needs  or  aspirations,  my  project  may  be  of  some  aid  and 
interest  to  them.  Particularly  so,  since  I  managed  all  the 
alterations  myself,  using  nothing  but  a  hammer,  a  saw,  a 
drill  and  a  screwdriver.  Furthermore,  the  cost  of  the 
materials  was  kept  under  $100.  Hence,  there  is  no  reason 
why  any  amateur  cannot  have  as  good  or  better  a  room,  if 
he  has  ordinary  proficiency  with  tools. 

PARTITIONING  PROJECTION  ROOM 
The  basic  unit  of  the  plan  consisted  of  a  partition  with 
cutouts  for  a  door  and  a  plate-glass  window  (see  Fig.  1) . 
This  partition  formed  the  front  wall  for  the  projection 
room  of  the  home  theatre.  It  was  constructed  by  screwing 
2  by  4  inch  beams  against  the  ceiling,  the  floor  and  both 
walls  so  as  to  form  a  rectangle  about  5  feet  from  the  rear 
wall  of  the  room.  Within  the  rectangle,  additional  two  by 
fours  were  fastened  to  serve  as  frames  for  the  door  and 
window  (construction  details  are  shown  in  Fig.  2). 

Next,  both  sides  of  this  framework  were  covered  with 
Celotex  board  and  finally  acoustic  tile  was  nailed  on  top 
of  the  Celotex  to  provide  the  required  sound  absorption. 
The  door  was  hinged  on  the  door  frame  and  the  plate 
glass  was  held  in  place  by  strips      [Continued  on  page  101] 


CELOTEX 
DOOR,         / 


•2X4  FRAME 

PROJECTION 
STAND 


FIG.   2: 
above. 


Simpls 
Entire 


s    but    sound    construction    details    are    diagramed 
cost    of    building    materials    was    less    than    $100. 


FIG.    1:    Projection    room   setup,  framed   off   5  feet  from    room's  end, 
is    seen    above.    Note    sound    projector    blimp,    slide    projector    stand. 


FIG.    3:    Here    the    projection    room    is    being    used    for    monitoring    a 
sound    recording,    made    in   theatre    space   with    Auricon    Cine-Voice. 


FIG.   4:   A    lip-synchronized    sound    recording   setup    is    made   at   the 
screen   end   of  theatre,   with    background   of  paper  or  stage   curtain. 


How  a  Boston  amateur  built  a  picture  play- 
house, recording  studio  and  sound  stage  in  two  months  time  and  for  less  than  $100 


82 


HOW  TO  MAKE  BAD  MOVIES 

A  pioneer  picture  maker  views  with  alarm  the  effete  excellence  of  modern  amateur  movies 


IRAN  across  recently  a  December  issue  of  this  journal, 
in  which  the  editors  reviewed  their  findings  as  regards 
the  Ten  Best  Amateur  Films  of  1950.  After  an  amazed 
and  careful  analysis  of  this  report,  I  can  come  to  only 
one  conclusion.  The  art  of  making  a  bad  movie  has  lately 
fallen  into  a  decline. 

It  is  difficult  to  account  for  this;  bad  movies  are  so  easy 
to  make.  The  only  possible  explanation  is  that  audiences 


11  Ml 


CONTINUITY:  A  total  lack  of  continuity  is  high  achievement  in 
art  of  making  a  bad  movie,  says  author.  Under  no  circumstance 
should  you   follow  one  scene  with   another  even  slightly   related. 


LAURENCE    CRITCHELL 

today  are  not  so  rugged  as  they  used  to  be.  In  my  day, 
it  was  not  uncommon  for  a  group  of  our  neighbors  to 
emerge  from  one  of  my  three  hour  showings  with  a  drawn 
look  and  bloodshot  eyes;  thank  the  wrong  person  for  a 
lovely  evening  and  stagger  out  into  the  open  air.  They 
could  take  it. 

To  prevent  modern  audiences  from  getting  deplorably 
soft,  I  have  written  down  the  general  precepts  that  we 
old-time  movie  makers  followed.  A  revival  of  these  prac- 
tices would  result,  I  am  convinced,  in  a  general  toughen- 
ing of  the  whole  moral  fiber  of  the  nation. 

PLANNING 

Planning  a  film  defeats  the  whole  purpose  of  a  genu- 
inely bad  movie.  In  the  first  place,  if  you  stop  to  think 
about  what  you  are  doing,  you  run  the  grave  risk  of 
getting  an  overall  concept.  In  addition,  you  become 
involved  in  beginnings,  middles  and  ends.  Such  matters 
may  make  the  film  interesting  and  spoil  the  effect. 

The  only  way  to  make  a  truly  bad  movie  is  to  begin 
filming  the  moment  you  take  the  camera  out  of  the  case 
and  continue  in  that  way  until  the  spring  is  run  down. 
You  are  then  ready  to  begin  again.  Forgetting  to  wind 
the  spring  is  sometimes  an  interesting  device  to  employ 
when  your  subject  has  climbed  a  monument  or  is  balanc- 
ing on  the  edge  of  a  precipice. 

EXPOSURE 

The  purchase  of  an  exposure  meter  is  so  likely  to 
improve  your  films  that  I  hardly  need  advise  you  in  the 
matter.  An  exposure  meter  makes  it  unlikely  that  you 
can  obtain  those  tantalizing  scenes  in  which  nothing  is 
visible  except  a  dim  object  in  the  foreground,  or  a  great 
deal  of  movement  that  no  one  can  understand.  Some 
of  the  worst  movies  I  have  ever  seen  were  based  on  this 
technique,  but  the  beginner  cannot  expect  to  master  it 
all  at  once. 

Guessing  the  proper  aperture  is  the  one  sure  means 
of  obtaining  a  proper  mixture  of  scenes  that  are  too 
light  and  scenes  that  are  too  dark.  Such  changes  force 
the  audience  to  adjust  their  eyes  continually  and  create 
exactly  the  sort  of  discomfort  you  are  striving  for.  If  by 
chance  you  obtain  one  or  two  scenes  that  happen  to  be 
correctly  exposed,  you  need  feel  no  despair;  a  few  brief 
scenes  like  that  in  a  long  film  only  illustrate  what  the 
audience  is  missing. 

CONTINUITY 

A  total  lack  of  continuity  is  the  highest  possible 
achievement  in  the  art  of  making  a  bad  movie.  Au- 
diences have  been  known  to  stagger  out  of  the  room 
after  less  than  an  hour  of  such  screenings.  To  perfect 
your  technique  in  this  matter  requires  constant  practice. 

Under  no  circumstances  should  you  take  more  than 
one  scene  of  any  given  subject,  nor  follow  one  scene 
by  another  scene  slightly  related  to  it.  The  best  results 
are  obtained  by  those  who  photograph  nothing  but 
totally  unrelated  objects,  such  as  monuments,  the  neigh- 
bor's house  next  door,  a  parrot  in  the  hotel  at  Scranton 
where  you   stopped   for  lunch,   Aunt  Tryphena   smiling 


Photographs   by    Ernest    H.    Kremer,    ACL 


EXPOSURE:  Guessing  the  proper  aperture  is  only  sure  means  of 
getting    effective    mixture    of   annoyingly    light   and    dark    scenes. 

rigidly  at  the  camera,  a  cloud  scene  that  you  took  with- 
out a  foreground  and  a  long  panorama  of  the  horizon 
on  Long  Island  Sound. 

If  by  error  you  should  get  two  related  scenes  close 
together,  simply  cut  out  one  of  them  and  leave  the  film 
broken.  The  whole  subject  of  broken  films  will  be  treated 
under  Projection. 

CLOSEUPS 

Closeups  are  only  permissible  if  you  make  no  provi- 
sion for  parallax.  Some  of  the  most  effectively  unsatis- 
factory pictures  I  have  seen  were  those  in  which  the 
subject's  head  was  missing,  or  only  half  his  face  and 
one  eye  were  visible  at  the  left  side.  A  prolonged  series 
of  closeups  showing  the  stems  of  flowers  is  one  out- 
standing result  to  be  achieved. 

However,  the  risk  of  making  your  pictures  more 
interesting  by  the  occasional  use  of  closeups  is  so  great 
that  the  unskilled  maker  of  bad  movies  would  do  well 
to  avoid  the  entire  matter.  Objects  from  twenty  five  feet 
to  infinity  are  the  best,  particularly  infinity.  Anything 
too  far  away  to  be  distinguished  on  the  screen  can 
always  be  explained  by  the  narrator   ( see  Projection  I . 

ACTION 

Needless  to  say,  action  of  any  kind  is   disastrous  to 

a  motion  picture.  The  most  effective  films  are  those  in 

which   nothing    is   included    except    immovable    objects. 

In  taking  a  long  scene  of  vour  house,  for  instance,  vou 


COMPOSITION:  Placement  of  a  tree  in  the  foreground  for  effect 
of  depth  was  a  mistake  seldom  made  by  zealous  early  amateurs. 

should  be  careful  not  to  include  any  human  beings. 
If  someone  should  accidentally  come  out  of  the  door 
while  you  are  filming,  stop  the  camera  at  once  and 
begin  again  when  the  person  is  gone.  The  only  move- 
ment resulting  from  such  a  strategem  will  be  the  mys- 
terious disappearance  of  the  person — which  will  serve 
nicely  to  add  to  the  overall  confusion. 

When  photographing  friends  or  family  groups,  make 
absolutely  certain  that  no  one  has  anything  to  do  that 
might  distract  him  from  smiling  self-consciously  into 
the  camera.  The  best  plan  is  to  arrange  everyone  in 
the  middle  of  a  lawn  or  up  against  a  house  and  remove 
all  objects  that  might  engage  their  interest.  What  you 
are  striving  for  is  a  sort  of  cataleptic  immobility. 

With  some  groups  you  may  find  it  impossible  to  pre- 
vent a  little  horseplay,  chiefly  the  business  of  pulling 
someone  up  front  to  be  photographed.  If  this  happens, 
simply  warn  them  that  you  are  taking  a  motion  picture 
and  they  will  stand  quite  still.  The  whole  thing  to  be 
avoided  here  is  naturalness. 

EDITING 

Editing  scarcely  deserves  comment.  Even  the  posses- 
sion of  a  splicer  might  improve  your  films.  This  stric- 
ture applies  with  equal  force  to  the  inclusion  of  titles. 
You  might  conceivably  succeed  in  making  your  titles 
too  long  and  their  appearance  too  short,  but  they  would 
still  give  the  audience's  eyes  a  brief  rest. 

The    use    of    informal    titles,        [Continued  on  page  98] 


CLOSEUPS,  warns  the  author,   are  only  permissible   if  you   make 
no    provision    for    parallax.    Decapitation    here    is    50%    effective. 


ACTION:    When    filming    friends    or    family,    make    quite    certain 
no    one    has    anything    to    do.    The    self-conscious    smile    is    basic. 


84 


SCHOOL  WORK,  music  and  sports  are  among 
activities  in  dawn-to-dusk  closeup  continuity. 
Bottom  frame   is  from   five-way  baseball  shot. 


COMEDY  IN  CLOSEUPS 

WILLIAM    MESSNER,    ACL 

THOSE  Ten  Best  judges  hit  it  about  right.  For  they  wrote,  in  reviewing  my 
picture,  Hands  Around  the  Clock,  that  the  dawn-to-dusk  continuity  has  been 

a  perennial  favorite  with  personal  movie  makers.  I,  too,  had  toyed  with  the 
idea  over  the  years.  But  I  also  had  in  mind  making  a  movie  wholly  in  closeups, 
one  that  would  tell  its  whole  story  pictorially,  without  benefit  of  titles  or  narra- 
tion. 

And  then  one  day  those  two  concepts  joined  hands.  I  had  been  watching  the 
activities  of  my  fifteen  year  old  son  as  he  tried,  rather  desperately,  to  fit  into  a 
single  day  all  of  his  varied  occupations.  Here  under  my  very  nose  was  exactly 
what  I  was  looking  for.  I  would  picture  his  activities  around  the  clock,  but  I 
would  picture  them  only  in  closeups  of  his  busy  and  facile  hands.  Even  the 
main  title  seemed  to  write  itself. 

MAKING  THE  MAIN  TITLE 

And  the  making  of  that  title  was  about  as  easy.  Obviously,  Hands  Around 
the  Clock  called  for  clock  hands  swinging  noticeably  around  the  dial.  There  was 
my  background.  I  took  a  large-faced  clock  of  slightly  Gothic  design,  removed 
the  glass  front  to  avoid  reflections  and  then  smoothed  a  coating  of  Glass  Wax 
over  its  polished  plastic  body  for  the  same  reason. 

The  perceptible  movement  of  the  hands  was  achieved  by  fitting  a  rubber 
grommet  over  the  hand-setting  knob  in  the  back,  cutting  a  groove  around  the 
outer  circumference  of  the  grommet  and  then  wrapping  a  length  of  string  one 
complete  turn  around  this  groove.  When,  off  stage  on  the  side,  the  long  end  of 
the  string  was  pulled  smoothly,  the  clock  hands  revolved  as  I  wanted.  There 
then  remained  only  a  wind-back  of  the  film  and  a  double  exposure  over  this 
shot  of  the  main  and  credit  titles. 

PLANNING  FOR  TRANSITIONS 

But  long  before  that  was  done,  1  had  made  a  simple  listing  of  my  son's 
typical  daily  activities.  This  was  then  roughed  into  a  shooting  script  covering 
broadly  the  main  points  to  be  considered.  From  this,  a  final  shooting  script 
was  prepared,  taking  up  the  action  a  sequence  at  a  time  and  filling  it  in  to  the 
finest  detail  of  setting,  type  of  shot  (whether  CU,  MS,  etc.)  and,  especially, 
noting  any  necessity  for  fades,  dissolves,  multiple  exposures  or  the  like. 

It  seemed  to  me  that  these  latter  directions  were  particularly  important,  for 
in  a  film  without  titles  putting  the  correct  visual  transition  in  the  correct  place 
is  often  a  necessity.  Perhaps  a  sample  portion  of  the  first  sequence  in  the  film 
will  make  these  methods  clear. 

Sequence  1.  Bedroom. 

(a)  Fade  in;  door  with  "Genius  at  Work"  on  it;  gradually  open  door — ■ 
dissolve  to: 

(b)    CU,  Genius  sign;   wind  back  film.  Superimpose: 


TELEPHONE   SPLIT   IMAGE 


BASEBALL  MULTIPLE   MONTAGE 
TYPE   A   FILM-USE  CONVERSION    FILTER 


No.  1 :  Boy's 
hand  holding 
phone — f/3.5 


No.   3:  Telephone   poles  and 
wires  (use  filter) — f/ll 


No.  2:  Girl's 
hand  lifting 
phone  —  f/5 


No.  1:  Exposure  4  ft.— f/8  + 


No.  5:  f/8 


No.  2-f/5.6-8 


No.    4:    f/8 


No.  3:   f/8 


FIG.    1:    Included    in   the   author's   script   book   was   the   diagram 
above     plotting     action,     exposures    for    three-way    split    screen. 


FIG.  2:   Still   more   complex  was  the  five-way   montage  executed 
in    the    baseball    sequence.    Diagram    is    visual    check    on    script. 


85 


16mm.  scenes  by  William   Messner,   ACL 


SELECTED  FRAMES  from  the  opening  sequence  are  seen  above.  The 
lead  title  was  double  exposed  over  moving  clock  hands  rotated  from 
behind    by    string.    The    Genius-At-Work    sequence    used    eleven    special 


effects  —  including  lap  dissolves,  double  exposures,  extreme  close- 
ups,  single  framing  and  a  zoom-camera  shot  —  in  only  eight  shots, 
all    carefully    plotted    in    advance.    Vitamin    pills    at    table    were    gag. 


(c)  MS.  pan  to  head  of  bed;  cut. 

(d)  SCU,  alarm  clock  on  table;  dissolve  to: 

(e)  ECU,  alarm  clock  face;  use  telephoto  lens  on 
titler. 

(f )  CU,  hands  on  covers  flexing  and  unflexing  fingers. 
Superimpose: 

(g)  SCU,  bringing  up  hands  around  ears  to  drown 
out  alarm;  cut:  make  note  of  footage  at  start  and  finish 
of  wind-back.  Superimpose: 

(h)  Shoot  in  titler  42  inches  away:  alarm  clock  on 
black  velvet.  Single  frame  and  move  clock  around  the 
outer  edge  of  the  frame  3  times;  work  clock  to  center 
and  dissolve.  Wind  back  and  fade  in  clock  and  zoom  to. 
2  feet.  Watch  frame  counter  and  cut. 

Involved  in  the  eight  scenes  of  this  opening  sequence 
there  are  (if  you  care  to  count  them)  no  less  than  three 
lap  dissolves  ( with  their  component  fades  and  wind- 
backs),  three  double  exposures  (with  their  attendant 
wind-backs  and  frame  counting) ,  one  pan  shot,  two  ex- 
treme closeups  (with  their  necessity  for  special  planning) , 
one  single  frame  series  and  one  camera  zoom.  I  think 
you'll  agree  that  you've  simply  got  to  know  in  advance 
where  such  effects  are  going  to  go. 

TRIPLE  SPLIT  SCREEN   EASY 

Another  interesting  sequence — calling  for  a  three-way 
split  screen  image — required  careful  advance  planning. 
but  was  really  quite  easy  to  execute.  I  wanted  to  suggest 
that  the  boy  was  calling  his  girl  friend  (of  the  moment) 
concerning  that  evening's  date.  Carrying  out  the  "hands" 
theme,  it  was  produced  as  follows: 

First,  using  a  clip-on  filter  ring.  I  prepared  a  simple 
masking  device.  It  began  with  a  semicircular  piece  of  stiff. 


opaque  paper  which,  fitted  horizontally  in  the  ring,  would 
mask  off  either  the  upper  or  the  lower  semicircle  of  view. 
Positioning  it  first  to  mask  the  upper  section,  I  added  a 
strip  of  black  tape  to  the  arrangement  so  as  to  mask  off 
further  the  lower  right  quadrant.  In  the  lower  left  quar- 
ter of  the  frame  I  then  shot  the  boy's  hand  toying  with 
our  telephone. 

Rewinding  the  film  the  noted  number  of  frames.  I  now 
quarter-masked  the  lower  left  quadrant  and  shot  a  similar 
closeup  at  lower  right  of  the  girl's  hand  holding  her  tele- 
phone. There  remained  now  to  create  some  connection 
between  the  two.  This  was  supplied  by  positioning  the 
half-circle  paper  mask  across  the  bottom  of  the  frame, 
extending  its  upper  edge  just  slightly  to  be  sure  of  an 
overlap,  winding  back  the  film  and  then  exposing  a  suit- 
able pictorial  bridge. 

TYING  TWO  TOGETHER 

I  decided  on  an  outdoor  shot  of  telephone  wires  against 
the  blue  sky.  This,  in  turn,  necessitated  another  script 
note  to  be  sure  and  insert  the  correct  conversion  filter 
for  using  Type  A  film  in  daylight.  And  finally,  of  course, 
I  had  to  be  careful  to  mask  my  viewfinder  in  each  case 
to  match  the  cutoff  of  image  imposed  on  the  lens.  But  it 
seems  to  take  longer  to  tell  about  this  sequence  than  it  did  to 
do  it.  The  script  for  it  ran  like  this,  and  to  make  sure  of  get- 
ting it  right  I  added  alongside  of  it  the  sketch  in  Fig.  1. 

Sequence  9.  Telephone  split  image — note  footage  indi- 
cator. 

fa)  SCU,  mask  out  all  but  lower  left:  show  receiver 
off  the  hook  and  boy's  hand  plaving  with  phone  wire 
(wind  back) . 

(b)    SCU,  mask   out   all   but       [Continued  on  page  101] 


Using  less  than  400  feet  of  film,  a  Ten  Best  winner  produced  a 

300  foot  picture  over  five  weekends.   Advance  planning  did  it 


and  Kodak 


■  ■■ 


JLlere's  the  camera  sure  to  give  you  a  new 
and  greater  satisfaction  from  your  movies  .  .  .  the 
superb  new  Cine-Kodak  Royal  Magazine  Camera. 
Light  and  comfortable  (it  weighs  only  2% 
pounds),  the  "Royal"  takes  those  big,  sharp  pic- 
tures you  dream  about — both  color  and  black-and- 
white.  And  although  there  is  full  capacity  for  ad- 
vanced cinematic  effects,  operation  is  simplicity  it- 
self. It  loads  in  3  seconds.  The  fast  and  beautifully 
made  Kodak  Cine  Ektar//l.9  Lens  focuses  from  12 
inches  to  infinity  .  .  .  allows  filming  under  all  but 
"impossible"  light  conditions.  The  motor  runs  a 
full  ten  feet  of  film  with  one  winding  .  .  .  stops  auto- 
matically when  rewinding  is  needed.  Three  speeds 


include  slow  motion.  The  "Royal"  also  features 
enclosed   view   finder,  single-frame   release,   int 
changeable  lens  seating,  and  built-in  exposure  gui< 

Accessories  available  include:  wide-angle  a: 
telephoto  Kodak  Cine  Ektar  and  Ektanon  Lens 
.  .  .  Cine-Kodak  Focusing  Finder  for  through-tl 
lens  composition  and  focusing  . . .  Cine-Kodak  Le 
Spacer  Rings  for  near-microscopic  movie  studi 
. . .  Cine-Kodak  Titler  . . .  filters  and  Pola-Screen 
easy-to-use  Kodak  Combination  Lens  Attachmen 

Truly,  the  Cine-Kodak  Royal  Magazine  Came 
is  a  great  achievement  in  cinematography . 
camera  you'll  be  proud  to  own.  The  price,  $192.5 
including   Federal   Tax.   At  your   Kodak   dealer 


Price  subject  to  change  without  noti 


nest  16mm.  Personal  Movie  Camera 


HE  CINE-KODAK 


ROYAL 


MAGAZINE  CAMERA 


tdard  Lens  is  the  outstanding  Kodak  Cine  Ektar 
im.  f/1.9 — a  member  of  Kodak's  superb  series 
bsolute  top-quality  movie  lenses.  Readily  inter- 
table with  it  are  eleven  accessory  lenses  rang- 
from  15mm.  wide-angles  to  152mm.  telephotos. 


Enclosed  View  Finder  adjusts  to  observe  fields 
covered  by  any  of  the  lenses  available  for  the  camera 
.  .  .  also  incorporates  parallax-correcting  indicators 
for  extreme  close-ups.  Finder  slide  "click  stops" 
when  moved  to  number  matching  the  lens. 


3-Seeond  Loading  is  accomplished  merely  by  mov- 
ing cover  slide  to  OPEN  position,  opening  door, 
slipping  in  film  magazine,  and  closing  cover.  Maga- 
zines, exposed  or  not,  can  be  changed  without  losing 
a  frame  whenever  you  want  to  switch  film  types. 


ftiple  Speeds  of  16,  24,  and  64  frames  per  sec- 
.  For  normal  screen  motion,  speed  1 6  is  the  one 
se.  Speed  24  should  be  employed  if  sound  is  to 
idded  later  or  if  the  film  is  to  be  shown  at  sound- 
speed.  Speed  64  is  for  slow-motion  effects. 


Exposure  Guide  "dials"  correct  exposure  to  use  for 
any  operating  speed,  any  lighting  condition,  any 
subject — indoors  or  out.  It  accepts  the  card  which 
comes  with  each  film  magazine  .  .  .  giving  outdoor- 
indoor  exposure  values  for  that  particular  film. 


Exposure  Lever  runs  film  when  pressed  half  forward. 
It  can  be  locked  for  continuous  exposure  by  pressing 
all  the  way  forward  .  .  .  lets  you  get  into  the  picture. 
Single  frames  are  exposed  by  moving  the  lever  back- 
ward .  .  .  allowing  animated  effects. 


EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


,®dkfl 


TRADE-MARK 


'-and  Kodak  finest  16mm.  Personal  Movie  Camera 


THE  CINE-KODAK 


ROYAL 


MAGAZINE  CAMERA 


Standard  Lent  is  the  outstanding  Kodak  Cine  Ektar 
95mm.  f/1.9 — a  member  of  Kodak's  superb  series 
ol  absolute  top-quality  movie  lenses.  Readily  inter- 
changeable with  it  are  eleven  accessory  lenses  rang- 
ing from  15mm.  wide-angles  to  1  52mm    telephotos. 


fnclosed  View  finder  adjusts  to  observe  fields 
covered  by  any  of  the  lenses  available  for  the  camera 
.  .  .  also  incorporates  parallax-conecting  indicators 
for  extreme  close-ups.  Finder  slide  "click  stops" 
when  moved  to  number  matching  the  lens. 


3-Seeond  Loading  Is  accomplished  merely  by  mov- 
ing cover  slide  to  OPEN  position,  opening  door, 
slipping  in  film  magatlnt,  and  closing  cover.  Mae* 
tines,  exposed  or  not,  can  be  changed  without  losing 
a  frame  whenever  you  want  to  switch  film  typai 


I  lore's  the  camera  sure  to  give  von  ,t  new 
.mil  greater  satisfaction  from  your  movies...  the 
superb  now  Cine-Kodak  Royal  Magazine  Camera. 
Light  .iml  comfortable  (it  weighs  only  2 7-s 
pounds))  tin'  "Royal"  takes  those  big,  sharp  pic- 
tures von  dream  about  both  color  and  black-and- 
white.  And  although  there  is  full  capacity  lor  ad- 
vanced clnematlt  effects,  operation  is  simplicity  it- 
self.  li  loads  In  \  seconds,  The  fast  and  beautifully 
made  Kodak  (  Ine  Ektai  /  1.9  Lens  focuses  from  12 
Inches  to  Infinity ...  allows  filming  under  .ill  bui 
"Impossible"  lighi  conditions,  ["he  motor  runs  .1 
full  UMi  feet  oi  film  with  one  winding  . . .  stops  auto- 
matically when  rewinding  is  needed,  Three  speeds 


include  slow  motion.  The  "Royal"  also  features  a:  J 
enclosed  view  finder,  single-frame  release,  inter  I 
Changeable  lens  seating,  and  built-in  exposure  guiui  I 

Accessories  available  include:  wide-angle  an 
telephoto  Kodak  Cine  Ektar  and  Ektanon  Lease  | 
.  .  .  Cine-Kodak  Focusing  Finder  for  through-tie 
lens  composition  and  focusing  . . .  Cine-Kodak  LenT 
Spacer  Kings  for  near-microscopic  movie  stud* 
. .  .  Cine-Kodak  Titler  . . .  filters  and  Pola-Screen  in 
easy-to-use  Kodak  Combination  Lens  AttachnieatJ 

Truly,  the  Cine-Kodak  Royal  Magazine  Came* 
is  a  great  achievement  in  cinematography 
camera  you'll  be  proud  to  own.  The  price.  v  192-'' 
including    Federal    Tax.   At   your    Kodak   dealer 

Price  subject  to  change  witboi  '  >">"'' 


Multiple  Speeds  of  16,  S4,  and  64  Irames  per  sec- 
ond. For  normal  screen  motion,  speed  1  6  is  the  one 
to  use.  Speed  24  should  be  employed  if  sound  is  to 
be  added  later  or  if  the  film  is  to  be  shown  at  sound- 
Sim  speed.  Speed  64  is  for  slow-motion  effects. 


fxposure  Guide  "dials"  correct  exposure  to  use  for 
any  operating  speed,  any  lighting  condition,  any 
subject — indoors  or  out.  It  accepts  the  card  which 
comes  with  each  film  mageiine  .  .  .  giving  outdoor- 
indoor  exposure  values  for  that  particular  film. 


fxposure  lever  runs  film  when  pressed  half  forward 
It  can  be  locked  for  continuous  exposure  by  prastimj 
all  the  way  forward  .  .  .  lets  you  get  into  the  picture. 
Single  frames  are  exposed  by  moving  the  lever  beck, 
ward.       allowing  animated  effects. 


EASTMAN  KODAK  COMPANY,  Rochester  4,  NY. 


[ili 


88 


FRAME   COUNTING   THE    FILMO 

In  the  June,  1950,  issue  of  Movie 
Makers,  Arthur  A.  Merrill  wrote  in 
The  Clinic  about  a  Frame  Counter 
For  Filmo.  I  would  now  like  to  add 
my  "two  cents'  worth"  in  connection 
with  the  same  subject. 

First,  if  you  are  counting  frames, 
you  probably  intend  making  a  double 
exposure  or  a  lap  dissolve,  either  of 
which  requires  the  use  of  the  hand 
crank  for  back-winding.  Each  turn  of 
this  hand  crank  passes  twenty  frames. 
Therefore,  I  count  the  exact  number 
of  turns  made  backward,  after  which 
I  make  sure  that  the  handle  is  pushed 
all  the  way  in  so  that  it  turns  as  the 
camera  runs  forward.  During  this 
operation,  I  simply  duplicate  the 
same  number  of  turns  (or  fractions 
of  turns)  used  in  back-winding. 

With  a  little  practice  on  an  un- 
loaded camera,  one  can  become  quite 
skillful  in  stopping  the  crank  handle 
"on  the  nose." 

Oscar  H.  Horovitz,  ACL 
Newton,  Mass. 

WIRE   RECORDING   TECHNIQUE 

I  have  read  many  articles  in  Movie 
Makers  on  how  to  make  wire  record- 
ings for  our  home  movies.  My  daugh- 
ter Marilyn  and  I  have  very  little 
trouble  keeping  ours  in  sync,  because 
this  is  the  way  we  do  it. 

The  equipment  used  includes  two 
portable  phonographs,  a  Sears  Silver- 
tone  recorder  and  a  Bell  &  Howell 
185  single-unit  sound  projector.  The 


first  frame  of  the  title  is  put  in  the 
gate,  and  the  wire  recorder  is  started. 
Marilyn  says,  "This  is  reel  1,  or  2, 
etc."  As  the  number  is  called,  I  start 
the  projector,  which  is  run  at  16 
frames  per  second.  I  then  watch  the 
wire  recorder,  while  Marilyn  reads 
the  commentary  and  raises  or  lowers 
the  music  volume. 

This  system  has  proved  very  suc- 
cessful, with  our  reels  and  wire  re- 
cordings invariably  finishing  to- 
gether. 

A.  Theo  Roth,  ACL 
San  Francisco,  Calif. 

#  *     # 

A  WORKING  LIBRARY  on  accom- 
plishments and  techniques  in  all  branches 
of  photography  may  be  consulted  at 
George  Eastman  House,  the  international 
photographic  center  in   Rochester,   N.   Y. 

#  #      # 

A   CORRECTION 

One  primary  error  and  another  of 
secondary  importance  crept  into  our 
presentation  in  January  of  A  Titling 
Tell-All,  by  John  E.  Clossen.  These 
are: 

( 1 )  The  author,  in  giving  an 
example  of  the  chart's  operation  in 
determining  camera-to-card  distance, 
wrote:  "We  intend  using,  let's  say,  a 
1  inch  lens  on  an  8mm.  camera."  With 
that  equipment,  the  chart  showed  the 
camera-to-card  distance  to  be  20  inches 
— which  is  correct.  .  .  .  For  no  reason 
that  we  can  recall,  we  changed  the 
example  to  read  "a  1  inch  lens  on  a 
16mm.  camera,"  but  we  still  left  20 
inches  as  the  answer — which  is  incor- 


Pictures,  plans  and  ideas  to 
solve  your  filming  problems 

rect.  The  correct  camera-to-card  dis- 
tance in  the  latter  instance  would  be 
10  inches. 

(2)  The  secondary  error  occurred 
in  the  caption  under  the  chart,  in 
which  we  (not  the  author)  claimed 
that  "the  chart  can  be  used  (with 
equal  facility )  with  8mm.  or  16mm. 
cameras."  This  is  not  wholly  true. 

The  chart  can  be  used  in  direct 
readings  throughout  for  8mm.  cam- 
eras only.  However,  it  can  be  used 
quite  as  successfully  with  16mm.  cam- 
eras if  the  chart's  Focal-Length-of- 
Lens  calibrations  are  translated  into 
16mm.  terms — i.e.,  read  12.5mm.  on 
the  chart  for  the  Sixteen's  1  inch 
standard  lens,  25mm.  for  the  Six- 
teen's 2  inch  telephoto,  etc.  The  other 
operations  may  then  be  followed  as 
outlined. 

The  Editors 
New  York  City 

#  *     * 

MOST  GOOD  MOVIES  have  a  pleas- 
ing variety  of  the  three  basic  camera 
positions:  long  shot,  medium  shot  and 
closeup. 

#  -x-      * 

SERVICE  SHEETS  FOR  ACL  MEMBERS 
The  following  service  sheets,  re- 
produced in  handy  reference  form 
from  past  articles  in  Movie  Makers, 
are  available  to  ACL  members  with- 
out charge,  on  request: 

A  Titling  Target;  Making  A  Mask  Box; 
Synchronizing  Sound  on  Wire ;  Rear  Pro- 
jection at  Home;  Simple  Cartoons;  A 
Periscope  for  Pond  Films;  Tricking  Out 
Titles;  Solving  Parallax;  Emergency 
Titles ;  Choosing  Editing  Tools ;  Arrange 
Before  you  Edit;  All  Good  Cameras  Got 
Wings;  Films  from  Nursery  Rhymes; 
Yosemite;  Going  to  Gaspe,  and  Quebec. 

Requests  should  be  addressed  to 
Consulting  Department,  Amateur 
Cinema  League,  420  Lexington  Ave- 
nue, New  York  17,  N.  Y. 


A.  THEO  ROTH,  ACL,  of  San  Francisco,  and  his  daughter,  Marilyn,  ready  for  recording. 


CONTRIBUTORS  TO 

The  Clinic  are  paid  from  $2.00  to  $5.00 
for   ideas   and   illustrations   published. 

Your  contributions  are  cordially  in- 
vited. Address  them  to:  The  Clinic, 
Movie  Makers,  420  Lexington  Avenue. 
New  York  17,  N.  Y. 


Please    do    not    submit    identical    items    to 
other    magazines. 


89 


THE  SHOT  PLOTTER  " 

Simple  to  make  and  easy  to  use,  the  camera  shot 

plotter  will  improve  your  angles  and  aid  your  aching  back 


DANIEL    HARRIS 

THAT  layout  of  pictures  last  month  called  What's 
Wrong  With  My  Angle?  was  right  up  my  alley.  I've 
suspected  for  sometime  that  a  little  more  experi- 
mentation in  camera  placement  would  improve  a  lot  of 
our  amateur  pictures.  Now  photographer  Kramer  has 
proved  the  point  beyond  argument,  with  his  vivid  pairs 
of  wrongs  and  rights. 

One  thing  I  did  note,  however.  All  of  his  examples 
were  shot  out  of  doors,  where  it's  a  good  deal  easier  to 
move  your  camera  about  and  pick  the  really  best  angle 
(although,  even  then,  lots  of  amateurs  don't  bother.) 
Indoors,  it  is  often  another  story.  Trying  this,  that  and 
the  other  camera  position  in  the  square  footage  of  the 
average  home  can  become  quite  a  chore.  Often,  one  or 
more  pieces  of  furniture  have  to  be  moved,  a  rug  rolled 
back  and  so  on.  Besides,  if  the  scene  is  to  appear  ex- 
actly as  it  will  on  your  film,  you  will  have  to  move  your 
lighting  units,  too,  with  each  new  setup. 

Perhaps  these  problems  explain  why  there  is  so  little 
experimentation  with  camera  angles  in  average  indoor 
filming.  If  so,  the  gadget  to  be  described — known  vari- 
ously as  a  camera  plotter  or  shot  plotter — may  be  just 
what  your  movies  need.  But,  before  explaining  the  shot 
plotter  in  use,  let  us  first  construct  one.  Here  are  the 
materials  needed: 

1.  An  8  by  10  inch  sheet  of  celluloid  or  clear  plastic 
about  Ys  of  an  inch  thick. 

2.  Two  bottles  of  waterproof  India  ink.  The  inks  used 


o 


FIG.   3:    A   floor   plan    of    your    living    room,    drawn    to    scale,    is 
scanned  by  plotter.  Movable  scale  cutouts  would  be  better  yet. 

should  be  of  differing  colors  in  order  to  distinguish  the 
angular  differences  of  the  various  cine  lenses. 

3.  A  ruling  pen  and  compass,  of  the  type  used  by 
draftsmen. 

4.  A  protractor. 

5.  A  straightedge. 

For  all  practical  purposes,  the  only  lenses  used  for 
indoor  filming  (8mm.  or  16mm.)  will  be  the  wide  angle, 
the  standard  lens  and  the  2x  telephoto.  Below  are  listed 
the  horizontal  angles  of  view  for  these  three  lenses  on 
a   16mm.   camera: 

THE   LENS  THE    ANGLE 

15mm.  34.0  degrees 

25mm.  21.5  degrees 

50mm.  10.9  degrees 

Angles  of  view  in  lenses  of  the  same  focal  length  but 
differing  manufacture  may  vary  by  1  or  2  tenths  of  a 
degree.  But  for  all  practical  purposes  the  figures  given 
here  will  be  adequate.  So  now  to  work. 

First  determine  the  vertical  center  line  of  your  cellu- 
loid and  draw  in  this  line  along  its  length.  Two  inches 
from  the  bottom  of  the  plotter-to-be  draw  a  horizontal 
line.  Where  these  two  lines  intersect  will  be  the  camera 
position,  and  all  angles  will  be  measured  from  this  point 
(see  Figs.  1  and  2).  With  the  protractor,  plot  the  angles 
of  your  cine  lenses.  Then,  with  the  ruling  pen  and  one 
color  of  India  ink,  draw  out  the  sides  of  the  angle.  Do 
the  same  for  all  the  lens  angles  you  want  to  use.  Stagger 
the  colors  of  the  ink  for  each  angle  (first  black,  then 
red),  so  that  it  will  be  easier  to  distinguish  them.  The 
compass  is  then  used  to  connect      [Continued  on  page  100] 


FIG.  1:  For  8mm.  cameras,  the  shot 
plotter  shows  angles  of  9mm.  (wide 
angle),  13mm.  (standard)  and  25mm. 
(2x  telephoto)  lenses  in  home  use. 
Diagram  for  these  angles  is  above. 


FIG.  2:  For  16mm.  cameras,  lenses  of  comparative  focal 
length   and   similar  function   are   charted   on  the   plotter. 


90 


CAUSE 

and  EFFECT 


Photographs  for  MOVIE  MAKERS   by 

LEO    J.    HEFFERNAN, 


FACL 


THUS  far,  in  a  series  which  began  back  in  December, 
we  have  examined  into  the  subject  of  interior  lighting 
under  the  following  heads:  December — A  Lighting 
Formula — in  which  it  was  shown  that  four  lighting  units 
(key,  fill,  back  and  background)  could  be  combined 
according  to  rote  to  create  acceptable  patterns  of  illumi- 
nation; January — Look  At  Your  Lighting — in  which  we 
carried  forward  this  formula  in  general  purpose  and 
special  purpose  scenes;  February — Some  Common  Light- 
ing Errors — in  which  we  pictured  (and  discussed)  some 
of  the  pitfalls  awaiting  the  unwary  light  man. 

This  month  we  mop  up.  We  have  gathered  together 
still  other  examples  of  imperfect  lighting,  with,  of  course, 
suggestions  for  their  correction.  Then,  ending  the  series 
on  a  note  of  positive  precept,  we  shall  submit  two  ex- 


FIG.    2:    An    unbalanced    lighting    pattern,    with    harsh    highlight 
and    deep    shadow,    is   another   result   of   too   few    lighting    units. 


FIG.    1:    Inadequate    lighting    besides   creating    a    muddy,    under- 
exposed   picture,    also    leads    to    unsatisfactory    depth    of    field. 


FIG.    2-A:    Addition     of    fill     light    at    left    and     back     light    on 
hair   evens   contrast    range    and    pulls    subject   from    background. 


FIG.  1-A:  More  light  adds  sparkle  to  exposure,  means  using 
a    smaller   diaphragm    with    consequent    increase    in    field    depth. 

ample*  of  what  might  be  called  "effect"  lighting.  They 
are,  actually,  nothing  more  than  special  purpose  lighting 
setups,  in  which  the  treatment  is  dictated  by  the  mood  or 
action  of  the  scene  itself  .  .  .  And  now,  on  to  the  errors. 

INADEQUATE  LIGHTING 

Because  of  its  basic  simplicity,  this  difficulty  is  one  we 
might  well  have  examined  earlier  in  the  series.  We  bring 
it  in  now  at  the  express  urging  of  the  editor,  who  reports 
that  readers  have  been  perturbed  by  the  seemingly  "pro- 
fessional" quality  of  the  lighting  units  used  in  these  illus- 
trations. That  such  equipment  is  not  essential  to  effective 
lighting  is,  I  believe,  adequately  proved  by  the  picture  on 
page  74  of  this  issue. 

However,  the  fact  still  remains  that  acceptable  lighting 
cannot  be  created  with  an  inadequate  level  of  illumina- 
tion. And  underexposure  is  not  the  only  difficulty  it 
creates.  To  a  degree,  this  can  be  counteracted  by  using  a 
faster  lens  at  its  widest  aperture — say,  at  //1.9,  1.5  or  1.4. 
But  to  do  so  is  only  to  make  more  noticeable  the  other 
blemish  of  inadequate  lighting. 

This  is  too  shallow  a  depth  of  field.  The  situation  is 
shown  in  our  Figs.  1  and  1-A.  In  the  first  of  this  pair, 
both  these  effects  of  inadequate  lighting  are  apparent.  The 
picture  is  dark  and  muddy  from  underexposure.  But  on 


91 


FIG.  3:  Light-toned  areas  in  a  setting,  such  as  this  corner 
wall,    tend    to    wash    out   when    lighting    units    are    moved    close. 

top  of  this,  by  using  his  widest  aperture,  the  cameraman 
has  so  shallowed  his  depth  of  field  as  to  throw  his  fore- 
ground figures  out  of  acceptable  focus  and  his  back- 
ground into  a  blur.  In  Fig.  1-A,  with  the  addition  of  more 
light,  the  exposure  is  more  even,  the  lens  has  been 
stopped  down  and  the  depth  of  field  is  perceptibly  better, 
at  both  front  and  back. 

UNBALANCED  LIGHTING 

Another  likely  difficulty  induced  by  an  inadequate 
number  of  units  is  unbalance  in  one's  lighting  treatment. 
Highlights  will  be  too  harsh,  shadows  too  dense,  and  the 
pictorial  effect  generally  unpleasant.  Reflecting  surfaces 
may  be  used,  of  course,  on  the  off -light  side  of  the  subject. 
But  they  are  never  a  satisfactory  substitute  for  more 
lighting  units. 

Take  Fig.  2  as  an  example.  Here  the  only  apparent 
illumination  comes  from  a  key  light  placed  at  a  medium 
height  and  to  the  right  of  the  camera.  While,  in  the  con- 
trolled printing  of  a  still  picture,  the  texture  of  the  high- 
lighted right  cheek  can  be  held  to  a  degree,  it  still  was 
impossible  to  retain  detail  in  the  shadows.  In  the  much 
slighter  contrast  range  of  color  film  (from  2:1  to  4:1), 
the  unpleasant  contrasts  would  be  even  more  pronounced. 

Fig.  2-A,  on  the  other  hand,  shows  the  improvements 
which  may  be  effected  by  the  addition  of  only  two  more 
lighting  units.  Here  the  key  light  has  been  moved  in 
slightly  towards  the  camera,  and  a  fill  light  has  been 
added  to  the  left  of  the  camera,  effectively  wiping  out 
the  heavy  shadows  on  the  entire  left  side.  But,  most  im- 
portant of  all,  a  back  light  has  been  brought  to  play  on 
the  girl's  hair  from  the  left  rear.  This,  combined  with  the 
shadow-lightening  effect  of  the  fill  light,  noticeably  pulls 
the  subject  away  from  the  background  to  which  she  is 
stuck  in  Fig.  2  .  .  .  Not  a  bad  return  for  an  investment 
in  only  two  more  lighting  units! 

LIGHTING  TOO  CLOSE 

Another  attempt  to  alleviate  the  effects  of  inadequate 
lighting  is  the  practice  of  moving  one's  available  units 
closer  to  the  subject.  The  aim  here  is  to  take  advantage 
of  the  fact  that  the  intensity  of  any  source  of  illumination 
varies  inversely  as  the  square  of  the  distance  from  that 
source  to  the  subject.  In  other  words,  a  given  lighting 
unit  positioned  at  10  feet  from  a  subject  will,  when  posi- 
tioned at  5  feet,  give  four  times  as  much  light  rather  than 
twice  as  much. 

All  well  and  good,   but  .   .   .         [Continued  on  page  93] 


FIG.    4:    Here,    with    the    lighting    pulled    in    close    to    right   edge 
of    set,    the    white    blouse    is    over-illumined    and    distracts    eye. 

Simple,  inadequate  illumination  may  be  the 
cause  of  countless  lighting  difficulties 

.  .  .  The  fourth  and  last  of  a  series 


FIG.    5:    A    single,    strongly    directional    light    source    and    heavy 
shadow   areas  are    marks   of  effect   lighting    in    "moonlight"    shot. 


FIG.    5-A:    With    more    light    on    the    fill    side,    less    density    in 
shadow  areas,  effect  changes  to  one  of  warm   morning  sunlight. 


92 


MARCH    1951 


News  of  the  Industry 

Up  to  the  minute  reports  on  new 

products  and  services  in  the  movie  field 


New  RCA  "400"  A  completely 
redesign  e  d 
model  of  the  RCA  "400"  Junior  16mm. 
sound  projector  has  been  announced  by 
the  RCA  Engineering  Products  Depart- 
ment, Camden,  N.  J.  It  is  smaller  and 
nearly  10  pounds  lighter  than  the  1950 
model.  The  company  also  has  an- 
nounced that  improvements  have  been 
made  in  the  RCA  "400"  Senior  pro- 
jector. 

Both  Junior  and  Senior  models  are 
available  in  either  a  single-case  unit  or 
the  heavier,  more  powerful  double-case 
design.  In  addition,  several  types  of  ex- 
ternally mounted  speakers  are  offered 
for  versatility.  The  "400"  Junior  has  an 
8  inch  speaker,  while  the  "400"  Senior 
has  a  10  inch.  The  models  are  designed 
to  permit  "live"  comment  or  for  play- 
ing phonograph  records.  Film  sound  is 
automatically  cut  when  the  microphone 
or  a  record  player  is  being  used. 

Both  projectors  are  equipped  with  a 
2  inch  //1.6  coated  lens,  750  watt  lamp, 
spare  reel  and  other  accessories.  They 
are  designed  to  operate  on  100-125  volt, 
60  cycle  AC  single-phase  power  source. 

EK  Brownie  Designed  to  make 
movie  making  as  tech- 
nically simple  as  snapshooting  with  the 
famed  Box  Brownie,  the  Brownie  Movie 
Camera  is  the  latest  addition  by  the 
Eastman  Kodak  Company  to  their  line 
of  8mm.  instruments.  "We  believe  it  is 
the  simplest  movie  camera  ever  made," 
James  E.  McGhee,  Kodak  vicepresident 
and  general  sales  manager,  has  de- 
clared of  the  Brownie  8. 

Although  geared  to  simplicity,  the 
Brownie  Movie  Camera  still  offers  every 
feature  fundamental  to  effective  movie 


ROBERT  C.  BERNER,  sales  manager  of  Keystone 
Manufacturing  Company,  was  named  last 
month  to  second  term  as  president  of  Pho- 
tographic Manufacturers  &  Distributors  Assoc. 


EK'S  BROWNIE  Movie  Cam- 
era, with  fixed  focus  f/2.7 
lens  and  sprocketless  8mm. 
spool  leading,  is  tops  in  sim- 
plicity.  $47.50   fti;   case,   $4. 


making.  These  include  a  13mm.  f/2.7 
Lumenized  lens  of  universal  focus;  a 
single  camera  speed  of  16  frames  per 
second;  a  built-in  exposure  guide  and 
easy-to-set  diaphragm  control;  footage 
indicator;  tripod  socket,  and  a  view- 
finder  corrected  for  parallax  at  the 
specific  closeup  distances  of  2  feet  and 
4  feet  from  the  subject. 

The  camera  uses  25  foot  rolls  of 
double  8mm.  film,  but  a  sprocketless 
loading  gate  gives  this  operation  the 
simplicity  of  the  magazine  design.  The 
Brownie  Movie  Camera  (without  case) 
is  priced  at  $47.50  including  the  fed- 
eral tax.  A  rugged  field  case,  with  drop 
front,  is  available  at  $4.00. 

Kcilart  The  Kalart  Company,  Inc.,  of 
Plainville,  Conn.,  has  recent- 
ly acquired  the  Craig  line  of  movie 
editing  equipment  and  now  manufac- 
tures and  merchandises  the  well  known 
Craig  Projecto-Editor,  splicer,  rewinds 
and  film  cement. 

Kalart  also  announces  the  appoint- 
ment of  Aubrey  E.  Bishop  as  advertis- 
ing manager  of  the  company.  He  was 
formerly  with  General  Motors,  in  Bris- 
tol, Conn. 

G-E  names  Edwin  H.  Howell  has 
been  appointed  special 
representative  of  General  Electric  Com- 
pany's Apparatus  Division  in  Washing- 
ton, D.  C.  He  was  formerly  manager  of 
sales  of  the  G-E  Meter  and  Instrument 
Division  in  Lynn,  Mass.  Mr.  Howell 
will  work  with  government  agencies 
created  in  connection  with  national  de- 
fense. 

Donald  E.  Craig,  formerly  assistant 
manager  of  sales,  succeeds  Mr.  Howell 
in  his  former  post. 

TWO  Still  imports      Two      new 

3  5mm.  still 
cameras  have  appeared  on  the  Ameri- 
can market  from  Germany.  The  Tenax, 
made  by  Zeiss  -  Ikon,  is  especially 
adapted  for  rapid  sequence  photog- 
raphy. It  loads  with  standard  35mm. 
film  cartridges  in  black  and  white  or 
color  and  yields  one-inch  square  pic- 
tures. A  special  lever  at  the  front  of  the 
camera  is  depressed  after  each  exposure, 
thus    transporting   the    film    and    reten- 


sioning  the  shutter  at  the  same  time. 
With  "T"  coated  //3.5  Zeiss  Tessar 
lens,  the  Tenax  is  priced  at  $89.50; 
with  coated  //3.5  Novar,  $66.00. 

Another  35mm.  camera  comes  in  two 
models,  the  Iloca  I  and  Iloca  II. 
The  Iloca  I  focuses  manually  and  is 
equipped  with  an  Ilitar  //3.5  coated 
lens.  It  takes  35mm.  cartridges  in  color 
or  black  and  white  and  has  flash-syn- 
chronized Vario  II  shutter  with  speeds 
to  1/200  of  a  second.  It  is  $39.95  in- 
cluding tax;  with  a  Pronto-S  shutter 
(1  second  to  1/300)  and  delayed  action 
device,  it  is  $49.95. 

The  Iloca  II  is  a  similar  instrument 
but  features  a  precision-constructed 
coupled  range  finder.  Price  is  $75.00 
including  tax. 

Both  the  Tenax  and  the  Ilocas  are 
distributed  in  America  by  Ercona  Cam- 
era Corporation,  527  Fifth  Avenue.  New 
York  17,  N.  Y. 

Wollensak  names     Appointment 

of  Norman 
Kuegler  as  sales  manager  of  Wollensak 
Optical  Company,  Rochester,  N.  Y.,  has 
been  announced.  His  duties  will  cover 
coordination  of  dealer  and  distributor 
sales,  as  well  as  advertising  of  Wollen- 
sak products.  He  was  formerly  with 
Sears  Roebuck. 

DeJur  appoints  Dejur  -  Amsco 
Corpora  ti  on, 
Long  Island  City.  N.  Y..  announces  the 
appointment  of  George  V.  Mainardy  as 
export  sales  manager  of  its  photo- 
graphic products.  Mr.  Mainardy  brings 
with  him  many  years  of  experience  in 
international  trade. 

Kam-Lok  A  new  device  which  en- 
ables a  camera  to  be 
quickly  attached  to  or  detached  from  a 
tripod  is  known  as  the  Johnson  Kam- 
Lok.  The  mechanism  is  in  two  dove- 
tailed parts  which  may  be  released  by 
pulling  a  chain  attached  to  a  spring- 
loaded  locking  pin. 

The  top  portion  is  screwed  into  the 
tripod  socket  of  the  camera;  the  lower 
part  is  screwed  onto  the  tripod.  To 
mount  the  camera  on  the  tripod,  simply 
slide  the  two  parts  together  and  they 
lock  automatically.  A  pull  of  the  chain 


MOVIE    MAKERS 


93 


THE   KAM-LOK,  one  port  on  camera,  other  on 
tripod,    speeds    mounting,    dismounting    units. 


releases  the  sections  so  that  the  camera 
may  be  slid  off  the  tripod.  Kam-Lok  is 
distributed  by  General  Photographic 
Supply  Company.  136  Charles  Street, 
Boston  14,  Mass. 

New  booklet  Films  for  Education, 
Entertainment  and 
Religion  is  the  rather  lengthy  title  of  a 
64  page,  1000  item  catalog  recently 
published  by  Nu-Art  Films.  Inc..  112 
West  48th  Street,  New  York  19.  N.  Y. 
In  addition  to  listing  16mm.  sound  and 
silent  and  8mm.  films,  the  booklet  tab- 
ulates film  strips,  slides  and  other  vis- 
ual aids.  It  will  be  sent  free  to  anyone 
writing  to  the  above  address. 

E.  K.  personnel     J°hn  c-  Schulz, 

general  manager 
of  the  Eastman  Kodak  Company's  Chi- 
cago division,  has  retired  after  47  years 
of  service  with  the  company.  A  dinner 
in  honor  of  his  tenure  was  given  in 
Rochester  on  January  19.  .  .  .  Appoint- 
ment of  James  A.  Hill,  jr..  as  manager 
of  E.K.'s  Chicago  branch  has  been  an- 
nounced, with  Warren  D.  Starrett  being 
named  as  assistant  to  Mr.  Hill.  .  .  .  Paul 
W.  Lyddon  has  been  placed  in  charge 
of  medical  and  dental  X-ray  product 
advertising  at  Rochester.  He  was  for- 
merly editor  of  Kodak  News.  .  .  .  Ran- 
dall G.  Satterwhite  has  been  appointed 
assistant  manager  of  E.K.'s  Rochester 
branch.  .  .  .  A.  R.  Isakson  has  been 
named  assistant  manager  of  Eastman 
Kodak  Stores.  Los  Angeles. 


Cause  and  effect 

[Continued  from  page  91] 

This  seemingly  advantageous  lighting 
law  also  has  its  disadvantages.  One  of 
them  is  seen  in  Fig.  3,  where  lighting 
sources  have  been  brought  too  close  to 
a  predominantly  light  setting,  causing 
it  to  "burn"  or  wash  out.  With  this 
white  wall  in  mind,  the  movie  maker  is 
cautioned  to  check  with  his  meter  the 
illumination  level  of  any  large  light 
area  in  his  scene. 

A  complementary  distraction  is  found 
in  Fig.  4.  This  is  a  pleasantly  com- 
posed scene;  but  the  more  you  study 
it,  the  more  you  will  find  your  eye 
drawn  to  the  strong  highlights  on  the 
hairdresser's    blouse.    The    effect    in    a 


color  scene  would  be  even  more  pro- 
nounced. What  has  happened  here  is 
that,  with  the  lights  drawn  close  in  to 
the  edges  of  the  set,  the  illumination 
becomes  too  hot  on  any  figure  posi- 
tioned near  the  scene's  margin.  Here 
again  is  a  weakness  to  watch  for.  check- 
ing with  your  meter  as  your  players 
walk  through  their  assigned  actions. 
The  general  solution  to  such  hot  light- 
ing around  the  scene's  edge  is  to  use 
more  units  placed  further  back. 

SPECIAL   EFFECT  LIGHTING 

We  come  now  to  a  pair  of  pictures 
illustrating  that  popular  special  effect 
which  our  editor,  in  ordering  it,  iden- 
tified as  Lighting-A-Room-After-The- 
Room-Lights-Have-Been-Turned-Off.  It 
is  popular  in  personal  movies  and  may 
be  used  in  many  effective  ways.  Fire- 
place scenes,  mystery  movies,  putting 
the  children  to  bed  in  a  darkened  room 
— these  and  other  opportunities  will 
occur  to  you. 

In  any  such  instance,  this  Lighting- 
A-Room-After  effect  has  certain  invari- 
able characteristics:  (1)  there  must  be, 
at  least  seemingly,  a  single  strong  light 
source:  (2)  the  setting  or  the  action 
must  make  clear  the  nature  of  that 
light  source,  i.e..  firelight,  moonlight,  a 
burglar's  flashlight,  a  street  lamp,  etc.; 
(3)  the  direction  at  which  the  light 
source  falls  on  the  scene  must  be 
strongly  from  the  side  and.  often, 
slightly  from  the  rear,  thus  creating  a 
few  strong  highlights  and  much  deep 
shadow;  (4)  the  majority  of  the  picture 
area  (up  to  75  percent)  should  be  kept 
in  shadow,  using  only  the  dimmest  of 
fill  lighting  to  preserve  some  detail. 

These  requirements  are  fulfilled,  we 
believe,  in  our  two  studies  of  the  am- 
bitious angler.  In  Fig.  5  we  have  tried 
to  suggest  him  as  he  sets  his  alarm 
clock  by  moonlight  for  an  early  morn- 
ing start.  In  Fig.  5-A,  bringing  slightly 
more  overall  illumination  to  bear  on 
the  shadow  side  of  the  subject,  we  show 
him  in  the  drowsy  reverie  of  the  dawn's 
first  sunlight. 

Both  of  these  scenes,  of  course,  were 
shot  with  the  strong  directional  light 
of  the  sun  itself.  And,  filmed  in  color, 
the  faked  moonlight  illumination  will 
be  still  more  effective.  The  trick  here, 
of  course,  is  to  shoot  such  a  scene  (put- 
ting the  baby  to  bed,  for  example)  on 
your  indoor  Type  A  film  but  without 
using  the  usual  conversion  filter  called 
for  by  daylight.  Add  an  underexposure 
of  at  least  one  full  stop  to  aid  in  block- 
ing up  the  shadows  and  the  scene  will 
take  on  all  the  silvery  blueness  of  true 
moonlight.  For  the  firelight  effect,  re- 
verse the  procedure.  Film  it  indoors,  of 
course,  and  with  a  concentrated  arti- 
ficial light  source  in  the  fireplace.  But 
shoot  it  on  outdoor  film  and  again  omit 
the  corrective  filter.  A  warm,  glowing 
orange  will  bathe  the  scene  and  sub- 
jects. 


RADIANT 

A        I  I    i    - 

4-way  better 

SCREEN 


Whether  you  now  have  an  old  faded, 
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considering  purchasing  a  new  modern 
screen  for  the  first  time — Radiant's 
"Vyna-Flect"  Screen  Surface  protects 
you  against  the  dulling  fog  of  discol- 
oring, fading,  yellowing  and  dirt. 
Movies  or  stills  stand  out  with  unu- 
sual snap,  clarity  and  contrast.  Colors 
are  clear,  brilliant  and  true.  Images 
seem  to  j-u-m-p  out  of  the  screen. 
Here's  why: 

A  Really  Improved  Screen  Fabric 

The  new  "Vyna-Flect"  screen  fabric  is 
made  by  an  exclusive  Radiant  proc- 
ess. Millions  of  tiny  mirror-like  beads 
reflect  light  instead  of  absorbing  it — 
which  assures  you  the  brightest,  clear- 
est pictures.  This  surface  is  mildeiv- 
proof  and  washable,  so  that  you  always 
have  a  perfect  projection  surface. 

Send  for  FREE  BOOK 

"More  Brilliant  Projection1' 

crammed  with  practical  infor- 
mation   on    how    to    get    the 
best     projeciton     under     all 
conditions.       At     the     same 
time    we    will    send    you    a 
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much  better  your  pictures 
look    on    this    miracle 
fabric.    Radiant    Mfg. 
Corp.,      1244     South 
Talman,  Chicago  8. 


RADIANT 

PROJECTION      SCREENS 


94 


MARCH    1951 


Precision  Engineered  Movie  Camera  by 
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EUMIG  88 


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Tlie  outstanding  Eumig  88  actually  prevents  incorrect 
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In  addition,  you  will  find  other  technically  advanced 
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Features  and  short  subjects  for  8mm.  and  16mm.  screens 


Robert  Bruce  Rogers,  painter,  and  Paga- 
nini  Caprices,  played  by  Ruggiero  Ricci. 
These  exceptional  sound  films,  in  both 
color  and  black  and  white,  are  for  sale 
at  from  $30  to  $90  the  reel. 

•  The  Earth  Sings  and  Muscle  Beach, 
two  new  16mm.  sound  releases,  are  from 
Brandon  Films,  Inc.,  1700  Broadway, 
New  York  19,  N.  Y.  The  former  is  a 
filmic  interpretation  of  Palestinian  songs 
and  dances.  The  Hebrew  ballad  singer, 
Raasch,  provides  the  sensitive  musical 
background.  Running  time  is  15  minutes. 
Muscle  Beach,  a  prize  winner  at  the 
1950  Edinburgh  Film  Festival,  is  a 
humorous  and  poetic  impression  of  the 
California  beach  scene.  Produced  by 
Irving  Lerner  and  Joseph  Strick,  the 
8  minute  film  features  Earl  Robinson 
(Ballad  for  Americans  and  The  House  I 
Live  In)  singing  his  own  songs,  with 
lyrics  by  Edwin  Rolfe. 

■I  The  Movies  and  You,  a  series  of  12 
one  reel  subjects  explaining  to  the  pub- 
lic behind-the-scenes  activities  of  movie 
making,  including  excerpts  from  many 
famous  films,  is  now  available  on  16mm. 
black  and  white  sound  prints  from  the 
Industry  Short  Subject  Project,  25  West 
43rd  Street,  New  York  18,  N.  Y.  Offered 
at  present  are  Let's  Go  to  the  Movies, 
produced  by  RKO  Radio  Pictures;  The 
Art  Director,  by  20th  Century-Fox;  The 
Soundman,  by  Columbia;  The  Theatre 
and  You,  from  Warner  Brothers;  His- 
tory Brought  to  Life,  from  Paramount 
Pictures,  and  Screen  Actors,  from  Metro- 
Goldwyn-Mayer.  Six  additional  subjects, 
concerned  with  the  director,  the  cine- 
matographer,  the  costume  designer,  the 
writer  and  adventure  films  and  music, 
will  be  available  June  15  and  Dec.  15. 


■  Riders  of  the  Deadline,  16mm.  seven 
reeler  being  distributed  exclusively  by 
Commonwealth  Pictures  Corporation, 
723  Seventh  Avenue,  New  York  19,  N.  Y. 
Hopalong  Cassidy  Bill  Boyd  is  hot  in 
pursuit  of  a  smuggling  gang  in  this 
whooping  western  whirlimagig.  Andy 
Clyde,  Jimmy  Rogers,  Bob  Mitchum,  and 
Fiances  Woodward  are  also  employed 
to  help  or  harry  the  redoubtable  Hoppy. 
Searing  drama  for  the  saddle  and  gun- 
play addicts. 

H  Trooping  the  Colour,  10  minute. 
16mm.  color  sound  print,  is  being  dis- 
tributed by  the  British  Information  Ser- 
vices. Filmed  by  the  Crown  Film  Unit 
on  the  King's  (official)  birthday,  June 
9.  1949,  the  pomp  and  splendor  of  this 
impressive  ceremony  have  been  expertly 
caught  and  brilliantly  presented.  King 
George,  Princess  Elizabeth  and  other 
members  of  the  Royal  Family  participate 
in  the  events,  which  take  place  annu- 
ally on  the  famous  Horse  Guards  Parade 
at  Buckingham  Palace. 

B  Almanac  Films  announces  a  new  se- 
ries of  twenty  John  Kieran  Kaleidoscope 
films  on  science  and  nature  studies, 
which  will  be  of  particular  interest  to 
educators  and  students.  The  films,  avail- 
able on  a  rental  or  sale  basis,  are  black 
and  white  16mm.  sound,  each  subject 
on  one  reel  running  10  minutes. 

Among  the  titles  listed  are  The  Atom, 
Bee  City,  Clouds,  Ferns,  Plastics,  Sculp- 
ture, Shore  Birds  and  Tides.  Further  in- 
formation may  be  obtained  from  Almanac 
Films,  Inc.,  516  Fifth  Avenue,  New 
York  18,  N.  Y. 

H  Cineconcert:  Artists  Films,  Inc.,  8 
West  45th  Street,  New  York  19,  N.  Y.. 
announces  release  of  a  series  of  musical 
films,  each  about  a  reel  in  length,  devoted 
to  a  single  concert  artist  or  a  specific 
composition  performed  by  the  most  emi- 
nent artists  of  our  day.  Among  selec- 
tions currently  available  are  The  Music 
of  Chopin,  played  by  Sondra  Bianca  and 
recorded  during  an  actual  Carnegie  Hall 
recital;  Fantasy,  featuring  Beethoven's 
Appassionato  sonata,  the  playing  of  Miss 
Bianca  and  the  color  interpretations  of 


■  Green  Blazes,  one  reel,  16mm.  color, 
silent,  is  on  free  loan  from  Jack  Camp, 
Kiekhaefer  Corporation,  660  South  Hick- 
ory Street,  Fond  du  Lac,  Wise.  Exciting 
coverage  of  the  annual  11  mile  Cypress 
Gardens  outboard  steeplechase  makes 
this  a  tempting  item  for  Floridaphiles 
and  sports  lovers.  Dick  Pope,  jr.,  son  of 
Cypress  Gardens'  proprietor,  and  Buddy 
Boyle  are  two  of  the  better  known  dare- 
devils specializing  in  this  brand  of  ma- 
rine madness. 


MOVIE   MAKERS 


95 


A  warm  welcome  is  extended  to  all  of  the  new 
ACL  members  listed  below.  They  have  been 
elected  to  and  joined  the  League  since  our  last 
publication.  The  League  will  be  glad  to  forward 
letters  between  members  which  are  sent  to  us 
with   a  covering  note  requesting   such    service. 


Mary  Robilatto,  Albany,  N.  Y. 

William  Rosenfeld,  New  York  City 

Reginald  A.  Saalmans,  Weston,  Canada 

Francis  M.  Spoonogle,  Alplaus,  N.   Y. 

Samuel  Tepper,  Albany,  N.  Y. 

Western  Maryland  Cinematographers'  Club, 

Cumberland,  Md. 
Mark  Q.  Allen,  Columbus,  Ohio 
Maxwell  M.  Belding,  West  Hartford,  Conn. 
Tan  Bergman,  Halmstad,  Sweden 
John  Caruso,  New  York  City 
Mrs.  Ruth  M.  Doherty,  Denver,  Colo. 
E.  G.  Doumit,  Cathlamet,   Wash. 
Mrs  George  R.  Fann,  Ft.  Wayne,  Ind. 
August  Koch,  jr.,  Baltimore,  Md. 
Donald  C.  MacGillivray,  New  York  City 
Walter  A.  McDermott,  Lancaster,  Pa. 
J.  Paul  Nolt,  Lancaster,  Pa. 
Dr.  W.  M.  Orqvist,  Ashtabula,  Ohio 
Holmes  E.  Packard,  Detroit,  Mich. 
Mrs.  George  Rusha,  Milwaukee,  Wise. 
Dr.  Otto  Schales,  New  Orleans,  La. 
V.  B.  Edwards,  Idaho  Falls,  Idaho 
Paul  C.  Wallack,  Tulsa,  Okla. 
Harold  J.  Burton,  New  York  City 
Don  Kieffer,  Rocky  River,  Ohio 
Jack  H.  Oster,  M.D.,  Chicago,  111. 
Rev.  Ernest  A.  Dawe,  Weston,  Canada 
Richard  Kearney,  Kenosha,  Wise. 
George  Miller,  Racine,  Wise. 
Ra-Cine  Club,  Racine,  Wise. 
Harry  E.  Tracey,  jr.,  Pittsburgh,  Pa. 
Cine-Club  de  Cannes,  Cannes,  France. 
Jeannette  M.  Fitzpatrick,  Albany,  N.  Y. 
Dr.  W.  Friedman,  New  York  City 
Duane  E.   Gilmore,  Pipestone,  Minn. 

E.  H.  Hilliard,  Dayton,  Ohio 
John  P.  Masterson,  New  York  City 
Allen  G.  Roach,  Alta  Vista,  Va. 
Reta  Louise  Sweezie,  Detroit,  Mich. 
Arthur  V.  Avila,  Oakland,  Calif. 

George  D.  Becker,  M.D.,  Springfield,  Mass. 
Golden  Campbell,  Detroit,  Mich. 
Richard  B.  Domingos,  Macon,  Ga. 
Frederick  L.  Erminelli,  Pawtucket,  R.  I. 
Karl  Gordon,  Akron,  Ohio 
Roy  W.  Jamieson,  Toronto,  Canada 
Mrs.  Julia  Kamsler,  Flushing,  N.  Y. 
John  0.  I.  Lee,  Honolulu,  T.  H. 
Helen  Pep,  Kew  Gardens,  N.  Y. 
"Court"  Stanton,  Cleveland,  Ohio 
Ed.  Weinberger,  Denver,  Colo. 
William  Witter,  Guam,  Guam 

F.  O.  Barney,  Seattle,  Wash. 
John  J.  Carey,  Hamilton,  Canada 
George  Etz,  Lubbock,  Texas 

E.  G.  Howard,  Seattle,  Wash. 
Joseph  T.  Lappan,  Pittsburgh,  Pa. 
W.  J.  McCall,  Memphis,  Tenn. 
Edward  Romanik,  New  Haven,  Conn. 
Dr.  Glenn  A.  Sutton,  Saylesville,  R.  I. 
George  N.  Chakrian,  Dayton,  Ohio 
Frank  Giraud,  San  Francisco,  Calif. 
Ed.  Jensen,  Oklahoma  City,  Okla. 
Henry  J.  Kelly,  Rahway,  N.  J. 
Otis  Lumpkin,  Texarkana,  Texas 
George  P.  Maurer,  Wauwatosa,  Wise. 
William  Shaw  Perrigo,  Beloit,  Wise. 
Frank  W.  White,  Memphis.  Tenn. 
Alex  J.  Andrews,  Jackson  Heights,  N.  Y. 
Mrs.  Marion  Garr,  Lakeview,  N.  Y. 
Irving  Healy,  Alameda,  Calif. 
Dr.  E.  Noel  F.  Jenkins,  Estevan,  Canada 


introducing         ~ 
the  amazing  \/2* 
EW  J*** 


NEW 


never  before,  so 
many  unusual  features 
in  an  8  mm.  camera! 


Marvelously  compact,  precision  con- 
structed, completely  professional  in 
performance— this  spectacular  im- 
ported "8".  Examine  the  double  lens 
mount—  it's  in  the  form  of  a  unique 
slide— changes  lenses  in  a  split  second 
and  features  automatic  magnifying 
compensation  in  the  view  finder  when 
the  telescopic  lens  slides  into  place! 
8  to  64  frames  per  second.  Special  ef- 
fects galore  —  with  provision  for  ex- 
posing single  frames  in  continuous 
sequence  and  a  film  returning  crank 
for  fade-ins,  fade-outs,  lap  dissolves 
and  other  professional  effects.  The 
spring  motor  has  an  unusually  long 
run— a  full  11  feet— automatically  cuts 
off  when  the  footage  indicator  reaches 
zero.  3  separate  viewfinders—eyeAevel, 
waist  level  and  right  angle  for  candid 
shots.  Just  about  the  most  amazing 
8  mm.  ever  built— See  it  at  your  dealer 
—  today! 

The  Nizo  is  a  product  of  the 
Niezoldi  &  Kramer  works  of 
Munich,  world's  oldest  spe- 
cialized manufacturers  of 
home  movie  equipment. 


For  further  information 
and  name  of  nearest 
dealer,  write  Dept.  N-l 


Sirnoo 

with  coated  F/1.9  Schnieder      I J  / 
with  coated  F/1.5  Rodenstock  $219.00 

ERCONA  CAMERA  CORP. 

527  Fifth  Avenue   •    New  York   U,  N.  Y. 


BMM  —  16MM 
KODAOHROME 
BLACK  &  WHITE  „ 


8MAA 
Enlarqed  to  16. 
16 MM  Reduced  t©  8, 
frrec  Catalog  on  Request. 


V>^  NATIONAL  C/A'F  LAB 

BOX  44-Z  S  "WASHINGTON.  17.  D  C 


STOP  APOLOGIZING  FOR 
YOUR  MOVIE  TITLES 

Write  today  for  a  FREE  A-to-Z  Sample  Title  Test 
Kit.  Make  titles  that  are  different  .  .  .  better  and 
tailored  to  your  taste.  Trv  our  method  .  .  .  FREE. 
COMPLETE   COLOR   OR   B.&.W.   OUTFIT    $6.50 

A-to-Z     MOVIE     ACCESSORIES 

175  Fifth  Avenue       Dept.   M       New  York  10.  N.  Y. 


110  Volt  AC/DC 

Variable  Speed  Motor 

With  TACHOMETER 
for  EK  Cine  Special 

Now  you  can   motor  drive 

your     Cine     Special     with 

confidence. 

Tachometer  is  mounted  in  clear  view 
of  operator.  It  is  calibrated  from 
16  frames  per  second  to  64  fps. 
with  a  definite  RED  marking  for 
24  fps. 

Electrical    governor   control   for   ad- 
*WHWIbHMMBl_  _  justing  speeds.  Steady  operation  at 

all   speeds.    "OFF-ON"   switch   built   into    motor   base.    No    adaptors    required,   except    motor- 
coupling  which  attaches  to  camera  and  couples  to  motor. 

Motor  shaft  equipped  with  spring  steel  drive  arm  which  will  shear  if  camera  jam  occurs.  This 
drive  arm  is  easily  replaced. 

Furnished  complete  with  rubber- 
covered  cable  and  plugs.  Write  for 
complete  details. 


.^m^  ^*  FRANK  C.   ZUCKCR  ,-  ^ 

(Vflm€Rfl€ouipni€nT(o. 

\*i»«         1600  8R0H0WRH     tltHI  SDRK  CITS  V     .. 


96 


Brooklyn  gala  The  annual  16mm.  Gala  Show  of  the 
Brooklyn  Amateur  Cine  Club,  ACL, 
will  be  held  at  the  St.  Felix  Street  Theatre,  122  St.  Felix 
Street,  Brooklyn,  on  April  6.  Scheduled  thus  far  for  the 
program  are  The  Gannets,  1950  Maxim  Award  winner 
by  Warren  A.  Levett,  ACL,  of  West  Hartford,  Conn. ;  The 
Director,  1950  Honorable  Mention  winner  by  Cal  Dun- 
can, ACL,  of  Lee's  Summit,  Mo.;  Gingerbread  House,  by 
Charles  H.  Benjamin,  ACL,  and  Memory  Lane,  club  con- 
test grand  award  winner,  by  Bert  Seckendorf,  ACL. 

Priced  at  $.95  each,  tax  included,  tickets  may  be  ob- 
tained from  Russell  Rathbone,  116  John  Street,  New  York 
7,  CO  7-5288,  or  Eugene  Adams,  55  West  42nd  Street, 
New  York  18,  PE  6-5298. 

The  club's  third  annual  8mm.  Gala,  held  in  January, 
featured  The  Outpost,  by  Harry  W.  Atwood,  1950  Hon- 
orable Mention  winner.  Also  shown  on  the  program  were 
the  first  and  second  prize  winners  in  the  club's  1950  con- 
test: High  Card  Goes,  by  Louis  Dishotsky  and  Arthur 
Rosenthal,  and  A  Finished  Movie  Maker,  by  Earl  Kaylor, 
Nicholas  Vartholom  and  Mr.  Rathbone. 

Hartford  guest  Oscar  H.  Horovitz,  ACL,  of  Newton, 
Mass.,  was  a  guest  of  the  Hartford 
Cinema  Club  recently,  where  he  screened  his  1950  Ten 
Best  winner,  Ringling  Bros,  and  Barnum  &  Bailey  Cir- 
cus, and  an  earlier  production,  Dream  With  Music. 

Trenton    celebrates       in    a   justifiably    festive    mood, 

members  of  the  Trenton  (N.  J.) 
Movie  Makers  gathered  for  their  regular  meeting  last 
month  to  celebrate  their  fifteenth  birthday.  Organized  in 
1936,  the  club  has  been  active  in  the  amateur  film  field 
ever  since.  Present  officers  are  R.  James  Foster,  presi- 
dent; Ernest  Oliver,  vicepresident ;  J.  George  Cole,  ACL, 
secretary,  and  Harold  E.  Cranmer,  ACL,  treasurer.  The 
birthday  committee  was  headed  by  George  W.  Guthrie, 


George   Labes 


A  SEMINAR  ON  SOUND  by  Amateur  Movie  Society  of  Bergen  County 
(N.  J.)  brought  out  (I.  to  r.)  Fred  Feudale,  ACL,  George  Labes,  Stephen 
Moran,  ACL,  George  Weigl,  ACL,  Cy  Jenkins,  ACL,  at  the  mike,  Gene 
Huebler,  ACL,  and  William  Messner,  ACL. 

ACL.  Assisting  him  were  Roger  R.  Bell,  Mr.  Cranmer, 
Daniel  Kerwin  and  Mr.  Cole. 

Mr.  Cole's  800  foot  16mm.  Kodachrome  film,  Friendly 
Nova  Scotia,  was  the  feature  of  the  entertainment  por- 
tion of  the  program.  Refreshments  were  served. 

Dayton  dines  The  fourth  annual  banquet  of  the  Day- 
ton Amateur  Movie  Makers  Club,  ACL, 
was  held  at  the  YMCA  in  January.  Harold  A.  Williams 
delivered  the  invocation,  and  Harry  W.  Bailey  introduced 
the  new  club  officers  for  the  coming  year.  Joseph  Led- 
better,  donor  of  the  club  trophy,  made  the  presentation  to 
this  year's  winner,  Milton  H.  Bolender,  for  his  film, 
Wonders  of  the  Wayfarer. 

Other  winners  and  their  films  were  Robin  Hood  and  the 
Cub  Scouts,  by  E.  F.  Evans;  My  World,  by  Elizabeth 
Hamburger,  ACL;  Waymarks  from  Bow  to  Boston,  by 
L.  E.  Bolender;  Black  Lake,  by  R.  B.  Williams;  Canadian 
Vacation,  by  H.  A.  Williams;  Out  West,  by  G.  Brandt, 
and  Seattle,  by  H.  Cruzan. 

Kenosha  winners  The  Gate  Was  Open,  by  Gene 
Arneson,  ACL,  received  the  grand 
award  in  this  year's  club  contest  sponsored  by  the  Ken- 
osha (Wise.)  Movie  and  Slide  Club,  ACL.  It  was  also 
top  winner  in  the  16mm.  class.  Other  winners  were,  in 
8mm:  Beautiful  Wisconsin,  by  B.  Hockney;  Salome,  by 
Jack  Smith,  and  Vacation  Days,  by  Dr.  Graves;  in 
16mm.:  Jack  Frost  at  Work,  by  the  Reverend  Edwin 
Jaster,  ACL,  and  Time  on  His  Hands,  by  W.  G.  Marshall. 


Metropolitan   movies 


AWARD  WINNERS  in  annual  contest  conducted  by  Associated  Amateur 
Cinema  Clubs,  of  Chicago,  are  (I.  to  r.)  standing:  Othon  Goetz,  ACL, 
Clarence  Koch;  seated,  Cyril  S.  Dvorak,  president  of  the  Associated 
group,  Mrs.  Alice  Koch  and  William  Ziemer. 


A  post-holiday  8mm.  pro- 
gram by  the  Metropolitan 
Motion  Picture  Club,  ACL,  of  New  York  City,  presented 
Late  Again,  club  project  produced  by  the  Grand  Rapids 
(Mich.)  Amateur  Movie  Club;  Hawaiian  Highlights,  by 
Joseph  F.  Hollywood,  FACL;  Kid-Napped,  by  Victor  An- 
cona,  ACL;  Land  of  My  Dreams,  by  Joseph  J.  Harley, 


MOVIE   MAKERS 


97 


FACL,  and  An  Anaesthetic  Fantasy,  by 
Ernest  Kremer.  ACL. 

An  advance  notice  by  MMPC  has 
announced  the  dates  for  this  year's 
Gala  Night  at  Hunter  College  Playhouse 
as  April  27  and  28.  Early-bird  ticket 
buyers  should  get  in  touch  with  Harry 
Groedel,  ACL?  350  Fifth  Avenue,  New 
York  1,  CH  4-5200.  Tickets  are  priced 
at  $1.35  each,  tax  included. 


Rochester  session 


Harris  B.  Tut- 
tle.  ACL,  of 
the  Eastman  Kodak  Company,  recently 
addressed  members  of  the  8mm.  Movie 
Club  of  Rochester,  on  the  subject,  Tak- 
ing Movies  Indoors.  The  following  films 
were  projected:  Menemsha,  by  Jose 
Pavon,  ACL.  1949  Ten  Best  winner; 
Life  as  You  Remember  It,  Doomsday 
and  Selkirk  Shores  State  Park,  by  club 
member  Charles  Haefele. 

Oak  Ridqe  Lighting,  Composition 
and  Settings  were  the 
subjects  of  a  lecture-demonstration  con- 
ducted by  Norman  Lindblom,  at  a  re- 
cent meeting  of  the  Oak  Ridge  Cinema 
Club.  The  screening  portion  of  the 
evening  was  devoted  to  the  March  of 
Time  film,  March  of  the  Movies,  which 
traces  the  history  of  the  theatrical  film 
from  its  early  Mary  Pickford-Charlie 
Chaplin  days  to  the  present.  Here  is 
an  item  other  clubs  might  examine 
with  interest. 

Seattle  The  Seattle  Amateur  Movie 
Club.  ACL.  held  its  annual 
banquet  at  the  Engineers  Club  in  the 
Arctic  Building  in  January.  Mrs.  Al- 
bert Vena  headed  the  arrangements 
committee.  New  Officers  for  1951  were 
installed,  as  follows:  George  Hayden, 
ACL,  president;  Pete  Delaurenti.  ACL. 
vicepresident;  W.  B.  Bowden,  continu- 
ing as  secretary-treasurer;  Walter  Ma- 
kowski,  sergeant-at-arms;  Mrs.  Robert 
Cummins,  program  chairman;  Mrs. 
Vena,  refreshments;  Mrs.  John  Crock, 
bulletin  chairman,  and  Richard  Crom- 
well, disc  jockey.  The  reception  com- 
mittee includes  Andrew  Sharpe,  Mrs. 
Ralph  Lund  and  Mrs.  Duncan  Restall. 
The  banquet  film  program  featured 
Youth,  by  A.  0.  Jensen,  ACL;  The 
Pay  Off,  by  Bill  and  Frances  Crock, 
and  A  Weekend  for  Three,  by  Richard 
Thiriot,  the  latter  a  16mm.  film.  Also 
scheduled,  if  time  permitted,  were  an 
unnamed  8mm.  film  by  Francis  J.  Bar- 
rett and  the  club  production.  Give  and 
Take. 

Milwaukee  elects     Dr     A     w 

Hankowitz, 
ACL,  has  been  re-elected  president  of 
the  Amateur  Movie  Society  of  Milwau- 
kee, ACL.  Other  officers  for  1951  are 
Naomi  Gauger  and  Martha  E.  Rosche, 
ACL,  first  and  second  vicepresidents. 
respectively;  Lillian  Logeman.  secre- 
tary, and  Lu  Gaedtke,  treasurer.  Com- 


JUST  ARRIVED  —  VERY  FIRST  OFFERING 

U.  S.  GOV'T  SURPLUS 

From  refrigerated  storage  warehouses 

outdated  —  guaranteed  good! 


ltmmiXlOO'  Plui  X  negative,  each  $   1.40 
3  for     3.75 
HmmXIOO'  EK  Airgraph, 

single  perf.  each  1.00 

20  rolls   12.00 

16mmX400' EK  Positive  FG  Rel    .  ea  4.95 

16mmX50'     Magazine  Sup  XX  neg.  ea  1.25 

5  for     5.S0 
1ommX50'     Magazine  Plus  X  neg,  ea      1.25 

i  for     S.50 

The  following  include  cost  of  regular  Ko- 
dak  Laboratory  processing: 
lommXI 00'  Super   X,   each 3.95 

6  for  22.50 
lommXI 00'  Super  XX,  each  3.95 

6  for  22.50 
16mmX100' Type  A  Kodochrome,  ea  6.90 
16mmX50'  Magazine  Super  X,  each  3.35 
3  for  9.50 
16mmX50'  Magazine  Super  XX,  ea  3.35 
3  for  9.50 
16mmX50'    Mag   Kodochrome, 

Daylite,  each  4.95 

16mmXS0'    Simplex  Mag  Super  X,  ea   1.95 

Please  allow  postage.  Eicess  refunded. 


35mmX36  ezp  cart  EK  Microfile, 

12  for     3.50 
3SmmX18  ezp  cort  Ansco  color 

reloads      3  for     4.00 

35mmX100'    EK  Plus  X,  Super  XX,  ea      1.50 

3  for  4.00 
35mmX100'  Ansco  Supreme,  Ultra  Sp  1.20 

3  for  3.00 
35mmX100'  DuPont  Superior  10  for  6.00 
35mmX200'  Ansco  Ultra  Sp'd,  1949  3.50 
35mmX400'  DuPont  Superior,  each  1.75 
35mmX400'  Ansco  Supreme,  each  3.25 
35mmX400'    Ansco  Sup'me,  1949,  ea  5.95 

35mmX1000'EK  Super  XX,  1949.  ea  13.50 
35mmXl 000' Ansco  Ultra  Spd,  1949  13.50 
35mmX1000'EK  Plus  X,  each  ..    11.00 

35mmX2000'  EK   Neg   Duplicate,   ea  24.00 
3SmmX1000-  EK  Positive  Dup.  ea         12.00 
Bulk  film  daylight  loader,  special.      5.98 
35mmX100'  Ansco  Conviro  paper, 
perforated  single  wght, 
glossy   if  2.  each  1.50 

Please  allow  postage.  Excess  refunded. 


COD's  with  25%  FOB  NY.  Minimum  order  $2.00. 

AIR  PHOTO  SUPPLY  CORP 

Dept  AC-4    555  E.Tremont  Ave..  New  York  57,N.  Y. 


i^nmM^ 


THE  RALPH  R.  END  CORP. 


626  W.   165  ST.   •   NEW  YORK 
Send  your  film  for  free  criticism  or  estimate 


FILMS  &  EQUIPMENT 

•  NEW  AND  USED  .  .  . 

SOLD  FOR  CASH  OR  ON  TERMS  .  .  . 

•  We  also  buy  your  films  and  equipment. 

•  We  trade  either  films  or  equipment. 

Doing   business   all   over   the   world. 

•  Our  bargain  lists  are  free.  If  you  haven't 
our  discount  card,  ask  for  one. 

Here's    some    samples: 
NATCO  SOUND  PROJECTOR,  perfect  $245.00 
SKAN  3SMM  PROJECTOR,  perfect  15.00 

1200'  Cans  for   16MM ea.  .75 

FRANK   LANE 

#5     Little     Bldg.,     Boston,    Mass. 


l6l«l»COj«* 


16  MM 

and 


Motion 
Picture 
^Service 

WRITE 

FOR 

PRICES 

DEPT.  M 


GEO. W.COLBURN  LABORATORY,  Inc. 

164  N.  WACKER  DRIVE,  CHICAGO  6,  ILL. 


PRECISION  "T"  STOP  LENS  CALIBRATION 

Transmission  calibration  of  all  types  of  lenses,  any  focal  length,  latest  method 
accepted   by   Motion    Picture   Industry   and   Standards   Committee   of   SMPE. 

Equalize  your  lens  stop  on  all  focal  lengths  for  proper  exposure 
density  by  having  them  "T"  Stop  calibrated  now. 

LENSES    COATED    FOR    PHOTOGRAPHY    AND    SPECIAL    TV    COATING-PROMPT    SERVICE. 


.    ZUCKER 

(7flm€Rfl€ouipm€nT(o. 

^—*       1600  BROHDWRy    \   n€UU  S0RK  CITy      ^*-* 


98 


MARCH    1951 


Make  a  perfect  dissolve  every  time 
with   your  Cine  Special! 

Automatic  Attachment  $48.00 p,us  Tax 

iACCDU     V/"\l  (T\   5968  Santa  Monica  Blvd. 
J+J3ErH      ¥  ULW    Hollywood,  California 


2Va    x    3'/4    COLOR    PRINTS    50c    each 

Price  of   larger   prints  on   request 
From    8    and    16mm    Color    Film 

Send  3  frames  or  tie  thread  next  to  frame 
desired.  Add  25c  handling  charge  on 
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mittee  chairmen  are  Eugene  H.  Mill- 
mann,  ACL,  membership;  Frank  L. 
Krezner,  ACL,  program;  Hobart  Ol- 
son, club  productions;  DeLylia  Mortag, 
shut-in;  John  Bakke,  technical;  Miss 
Gauger,  music,  and  Joseph  Salerno, 
contest. 

Richard  Franzel,  ACL,  is  club  cus- 
todian and  managing  director  of  the 
1951  Gala  Show;  Lorraine  Fahrenberg 
edits  the  club  paper,  Cine-Crat;  Rob- 
ert E.  Lees  heads  the  publicity  commit- 
tee, and  Miss  Rosche  is  managing  di- 
rector of  the  1952  Gala  Show.  This 
year's  Gala  Show  will  be  presented  at 
the  Shorewood  Auditorium  on  Friday 
evening,  March  30. 

St.  Louis  ladies  The  Amateur  Mo- 
tion Picture  Club 
of  St.  Louis  turned  its  attention  to  the 
distaff  side  for  its  January  session,  the 
annual  Ladies  Night.  On  the  specially 
arranged  program  were  A  Child's 
Dream,  by  club  member  Mrs.  M.  B. 
Manovill;  1949  Honorable  Mention 
award  winner,  Caledonian  Chronicle,  by 
Esther  S.  Cooke,  ACL,  of  Albany,  N.  Y., 
and  Three  Hours  Away,  by  Helen  C. 
Welsh,  ACL,  also  of  Albany. 

K.  C.  awards  Results  of  the  an- 
nual contest  spon- 
sored by  the  Kansas  City  (Mo.)  Ama- 
teur Movie  Makers,  ACL,  are,  in  order, 
as  follows:  8mm. — Who's  Afraid?,  by 
Gene  and  Irene  White;  The  Kansas 
City  Centennial,  by  Louis  and  Dorothy 
Goodson,  and  The  Summons,  by  Earl 
and  Lorene  Martin;  16mm. — The  Di- 
rector, by  Cal  Duncan,  ACL,  and  Irene 
Duncan;  No  Bullets,  by  the  Leonard 
Carrs,  sr.  and  jr.;  Tivo  Miles  High,  by 
Jim  and  Sylvia  Willoughby;  Christmas 
Time,  by  Don  Closson,  ACL,  and  Mil- 
dred Closson;  Innocents  Abroad,  by 
Aidan  and  Eve  Cockburn,  and  Whittlin' 
an  Listenin,  by  Charles  Burns,  ACL, 
and  Virginia  Burns. 

The  panel  of  six  judges  included 
Harry  Hilfinger,  of  ESO-S  Pictures;  Dr. 
R.  A.  Holy  and  William  Brewer,  of  the 
University  of  Kansas  City;  Tom  Tutt, 
of  Eastman  Kodak;  Omar  Putman,  of 
the  Post  Office  Department,  and  Don 
Weakley,  of  the  Billy  Moran  School  of 
Commercial  Art. 

S.  F.  screening  A  program  of  three 
films  was  present- 
ed to  members  of  the  Cinema  Club  of 
San  Francisco.  These  were  North  of 
the  Border,  a  commercial  film  shown 
through  the  courtesy  of  the  local  Cana- 
dian consul;  Shots  from  Here  and 
There,  a  collection  of  color  slides  by 
Stan  Shayer,  and  The  Golden  High- 
way, by  Leon  Gagne. 

New  club  officers  for  the  coming 
year  are  Ray  Frick,  president;  Dena 
Vogelsang,  secretary;  Arthur  Fritz, 
treasurer,  and  S.  C.  Kloster,  program 
chairman. 


How  to  make  bad  movies 

[Continued  from  page  83] 

such  as  writing  on  wet  sand  at  the 
beach,  presents  a  special  hazard,  inas- 
much as  very  little  difficulty  is  entailed 
and  the  temptation  is  sometimes  great. 
However,  a  lack  of  forethought  (see 
Planning)  is  generally  an  adequate 
safeguard. 

PROJECTION 

Now  we  come  to  the  real  heart  of 
the  matter.  The  early  writers  on  this 
subject  held  that  all  projection  should 
be  done  from  50  or  100  foot  rolls. 
However,  it  was  later  found  (vide 
Collins,  C.  V.;  The  Disintegration  of 
the  Home;  1934)  that  a  break  every 
four  minutes  for  rewinding  and  thread- 
ing gave  people  in  the  audience  a 
chance  to  refresh  their  Scotch  and 
soda;  while  the  longer  reels,  though 
giving  a  few  people  a  chance  to  sleep, 
were  generally  more  foolproof.  The 
matter  is  still  under  debate.  I  have 
found  that  a  three  hour  showing  of 
100  foot  rolls  can  reduce  an  audience 
to  hysteria. 

Films  should  never  be  inspected 
before  projection  time.  The  screening 
of  at  least  one  reel  reversed  left  to 
right  greatly  intensifies  audience  re- 
action. Moreover,  unexpected  breaks 
or  tears  in  the  film,  particularly  those 
torn  perforations  which  make  the  image 
jump  wildly  up  and  down  on  the 
screen,  contribute  a  great  deal  to  the 
general  nervousness  of  the  situation. 
Excessive  employment  of  this  device, 
however,  may  cause  some  people  to  go 
out  in  the  kitchen  for  fresh  ice  cubes 
or  another  coke. 

Needless  to  say,  a  running  com- 
mentary is  the  only  means  of  keeping 
the  audience  awake.  Preparation  is 
quite  unnecessary.  I  am  afraid,  how- 
ever, that  we  old  timers  are  the  only 
ones  who  really  know  how  to  do  it — - 

"This  first  scene  is  something  I  took 
from  a  train  window  in  Alaba — oh  no, 
that's  a  panorama  of  the  golf  links. 
Moved  the  camera  a  little  too  fast  on 
that  one.  .  .  .  Here's  a  shot  I  took 
inside  the  Washington  Monument.  It's 
a  little  dark.  But  you  can  see  Aunt 
Tryphena's  umbrella  there,  that  little 
moving  spot.  .  .  .  Now  watch  this.  It's 
a  squirrel.  See  him? — see  him?  Wait 
a  minute,  I'll  run  that  back.  .  .  .  There — 
up  in  the  corner  of  the  picture.  .  .  . 
These  next  shots  are  a  little  jerky. . . . 
That's  Addie.  Missing  one  ear — hah 
hah!  .  .  .  Now  wait  a  minute — here 
comes  something.  I  got  a  shot  of  some- 
body being  pulled  out  of  the  rapids  at 
Niagara  Falls.  It's  out  of  focus — I  had 
it  set  at  two  feet — but  you  can  see 
him  all  right,  that  small  dark  blur  on 
top.  See  the — oops!  Just  hold  every- 
thing, folks.  The  film  broke  .  .  ." 

Those  were  the  good  old  days. 


MOVIE    MAKERS 


99 


CloseupS-What  filmers   are  doing         NOW  YOU  CAN  GET  A 


Jon  C.  Kraker,  ACL,  of  Guatemala 
City,  Guatemala,  writes  that  Hayden 
Smith,  ACL,  of  Flint,  Mich.,  is  visiting 
him  and  that  the  two  are  engaged  in  a 
cooperative  filming  venture  recording 
the  country's  exotic  charms.  Betty  Leis, 
ACL,  of  Milwaukee,  is  expected  to  join 
them  in  the  near  future.  It  begins  to 
sound  like  a  growing  colony  of  ACL'ers, 
and  a  more  pictorial  setting  would  be 
difficult  to  imagine. 

To  turn  a  well-worn  phrase — there 
doesn't  seem  another  way  to  say  it, 
Larry — we  take  both  personal  pleasure 
and  professional  pride  in  bringing  you 
in  this  issue  an  article  by  Laurence 
Critchell.  (See  How  To  Make  Bad 
Movies,  page  82.) 

This  is  not  his  first  piece  in  our  little 
paper,  by  any  means.  Back  in  Febru- 
ary, 1935,  we  ran  something  called 
Caribbean  Chances  which  was  his  first 
published  article — in  this  or  any  other 
magazine.  Of  it  Larry  wrote  us  re- 
cently: "It  was  god-awful!  I  believe  I 
was  sixteen  or  seventeen  at  the  time, 
had  taken  one  cruise  to  the  Caribbean 
and  aspired  to  be  a  Burton  Holmes." 

What  Critchell  really  aspired  to  be 
was  a  professional  writer.  Which  is 
precisely  what  he  now  is,  with  his 
stories  being  published  variously  in 
The  Atlantic,  Cosmopolitan,  Collier's 
and  the  Saturday  Evening  Post.  His 
first  story  in  the  big  time  was  Flesh 
and  Blood  for  The  Atlantic,  which  has 
since  been  widely  anthologized  in  the 
0.  Henry  Best  Stories  collection  and 
others. 

But  this  sort  of  success  was  a  time 
in  coming.  There  was  a  period  of  nine- 
teen months  (October  '39  to  April  '41) 


Mary  Critchell 


LEWIS  C.  COOK,  ACL,  author  of  many  how-fo> 
build  articles  for  MOVIE  MAKERS,  is  called 
back  to  service  cs  U.  S.  Navy  photo  chief. 
Camera  is  35mm.  Eyemo,  brother  of  Filmo  16. 


LAURENCE  CRITCHELL,  former  associate  in 
ACL's  consulting  department,  returns  to  MOVIE 
MAKERS    with     How    To    Make    Bad    Movies. 

when  Larry  served  on  the  League's 
staff  as  an  associate  in  the  Consulting 
Department.  Then  there  were  "Greet- 
ings!" and  a  period  of  nearly  ten  years 
when  he  served  in  the  United  States 
Army. 

Returning  to  Movie  Makers  with  his 
present  piece,  Larry  wrote  us:  "I  feel 
like  I'm  home  again."  .  .  .  We're  glad 
to  leave  it  at  that. 

We  have  had  an  informative  note 
from  W.  A.  Deutsher,  ACL.  of  Mel- 
bourne. Australia,  a  member  there  of 
the  Victorian  Amateur  Cine  Society. 
ACL,  who  has  recently  returned  from 
an  extensive  filming  expedition  to 
Africa. 

Most  of  his  time  and  about  10.000 
feet  of  16mm.  color  film  were  expended 
in  the  rarely  visited  regions  in  the 
Anglo-Egyptian  Sudan,  recording  the 
daily  activities  of  the  local  tribes.  Since 
few  whites  have  ventured  into  this  area 
before,  the  films  promise  some  unique 
coverage.  Hope  we  see  them. 

Esther  Cooke,  ACL.  of  Albany.  N.  Y., 
paid  us  a  Lincoln's  Day  visit,  bringing 
with  her  some  more  footage  on  Mexico 
filmed  last  fall,  which  she  intends  add- 
ing to  her  1950  Ten  Best  winner.  Next- 
door  Neighbor.  Esther,  the  travel 
agent's  delight,  is  off  again  later  this 
year  to  look  into  the  big  film  doings 
at  London  and  Glasgow  during  the 
Festival   of  Britain. 

Another  traveling  lady  member. 
Helen  Pep,  ACL.  of  Kew  Gardens. 
N.  Y..  is  presently  boning  up  on  photo- 
graphic tricks  of  the  trade,  prior  to 
taking  off  for  an  extended  filming  tour 
of  Europe  and  the  Middle  East.  Her 
plans  call  for  an  educational  film 
pointing  up  the  repetition  of  similar 
ideas,  customs,  designs  and  rhythms  in 
the  arts,  crafts  and  folkways  of  the 
countries  visited. 


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100 


MARCH    1951 


Classified    advertising    The  shot  Plotter 

^ ^^^^m^H^^^^^ *3  [Continued  from  page  89] 


■  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


■  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT  FOR  SALE 


■  NEW  MORTON  SOUNDMASTER  single  system 
camera  in  stock,  three  lens  turret,  external  200' 
magazine,  and  DC  portable  power  pack  to  shoot 
anywheres.  Price  $645.00  plus  S25.00  batteries.  Bolex 
H-16  with  1"  f/1.9  lens,  excellent,  $195.00.  Filmo 
70A  with  1"  f/1.9  lens,  excellent,  $85.00.  B&H  Dip- 
lomat projector,  excellent,  $150.00.  Buy,  sell,  rent 
all  16-35mm.  motion  picture  equipment.  Send  your 
listing  for  our  liberal  cash  offers.  THE  CAMERA 
MART.    Inc.,    70    West   45th   Street,   New   York. 

■  SYNCHRONOUS  motors  installed  on  16mm.  pro- 
jectors, $145.00.  Synchronous  equipment  rented  and 
sold.  M.  W.  PALMER,  468  Riverside  Drive,  New 
York   27. 

■  UNBEATABLE !  !  Up  to  40%  discount  on  brand 
new  movie  and  still  photographic  equipment,  r  or 
prices  and  discounts  write  STRAUS  SUPPLY  CEN- 
TER,   Dept.    MM,    113   West   42nd    St.,   New  York    18. 

■  WORLD'S  LARGEST  SELECTION  OF  FINE 
MOVIE  LENSES— Guaranteed,  available  on  15  day 
trial.  In  focusing  mounts  for  8mm.  cameras:  1/4"  f/1.9 
Wollensak  Raptar  (coated),  $45.70;  1%"  //3.5  Cine 
telephoto,  $34.50.  In  focusing  mounts  coated  for 
16mm.  cameras:  17mm.  f/2.7  Carl  Meyer  wide  angle. 
$44.50;  2"  //2  Schneider  Xenon,  $99.50;  3"  //2.8  Carl 
Zeiss  Tessar,  $109.50.  These  are  only  a  few  of  the 
bargains  in  our  tremendous  stocks.  Write  today  for 
complete  lens  listing.  BURKE  &  JAMES,  Inc.,  321 
So.    Wabash    Ave.,    Chicago,    111.   Att :    M.    M.    James. 

FILMS  WANTED 

■  WANTED  to  buy:  the  16mm.  film  taken  of  the 
BOSTON  BRUINS  HOCKEY  TEAM  about  1930.  Ad- 
dress RUSSELL  H.  KETTELL,  Concord,  Massachu- 
setts. 

FILMS  FOR  RENTAL  OR  SALE 

|  CASTLE  films  for  sale :  8mm. -16mm.  silent  and 
sound;  complete  stock,  orders  shipped  day  received 
by  STANLEY-WINTHROP'S,  Inc.,  90  Washington  St., 
Quincy  69,  Mass. 

■  NATURAL  COLOR  SLIDES,  Scenics,  National 
Parks,  Cities,  Animals,  Flowers,  etc.  Sets  of  eight, 
$1.95;  sample  &  list,  25<.  SLIDES,  Box  206,  La 
Habra,  Calif. 

|  USED  and  new  Castle  films:  8-16,  silent,  and 
sound.  Send  for  lists.  ALVES  PHOTO  SERVICE, 
Inc.,  14  Storrs  Ave.,  Braintree  84,  Mass. 

fi  FREE  Movies:  Thousands  of  subjects.  Interesting. 
Entertaining.  Fascinating.  Latest  Directory — only  50^. 
NATIONAL  CINE  SOCIETY,  126  Lexington  Ave., 
Dept.  102  C,  New  York  16,  N.  Y. 

■  1951  ROSE  PARADE  MOVIES.  Kodachrome.  Col- 
orful floats!  Beautiful  girls!  16mm.  200  ft.,  $29.95. 
8mm.  100  ft..  $14.95.  C.O.D.'s  accepted.  California 
add  tax.  AVELON  DAGGETT,  441  North  Orange 
Drive,    Los   Angeles  36,   Calif. 

■  BORROW  THESE  FILMS— Latest  Directory  to 
free-Ioan  movies,  no  rentals,  $1.00.  AMERICANA 
FILMS,  Box  2526M,  Hartford,  Conn. 

■  BARGAINS:  16mm.  Sof.  features,  $22.50;  Shorts. 
400.  $2.25;  Silent  400',  $1.95  up;  1600'  Reels,  $1.55 
1200'  new,  $1.20;  800'  reel  and  can  sets,  $1.89;  Stor- 
age cans  for  2-1000  reels,  $.95;  shipping  cases,  1600'. 
16mm.  3-5  reels,  reconditioned,  $1.90;  as  is,  $.97. 
Lists  Free;  Trades  Accepted.  Victor  16mm.  turret 
camera,  //1.5  1"  lens,  $125.00.  Bell  &  Howell  (2000' 
capacity)  Showmaster  projector  $165.00.  Semi-Pro- 
fessional  tripod,  $69.50.  Victor  40B  sound  outfit  12" 
auditorium  speaker,  $175.00.  Large  National  Film 
Library  8-16-mm.  MOGULL'S,  Dept.  MM,  112  W.  48th, 
New  York   19. 

|  SOUND  film  library  &  projectors,  sacrifice;  free 
list.  F.  L.  HAWLEY,  3719  English  Ave.,  Indianapolis, 
Ind. 

■  1951  ROSE  PARADE— PASADENA.  CALIFORNIA 
— OUR  9th  year.  Color,  beautiful  (16mm.  Headline 
150',  $22.50,  DeLuxe  400',  $60.00)  (8mm.  75',  $11.25, 
200',  $30.00).  Palm  Springs  Rodeo  starrincr  Montie 
Montana,  16mm.  and  8mm.  color.  NORM  JACOT,  Box 
572.  Manhafan  Beach,  Calif. 


■  ADD  to  your  own  ALASKA  or  MEXICO  movies 
16mm.  gorgeous  COLOR  film  originals,  not  duplicates, 
extra  scenes  taken  while  making  adventure  pictures  for 
national  lecture  platform — many  spectacular  shots  of 
game,  glacier  crashing,  volcanic  eruption,  etc.,  in 
areas  seldom  reached  by  man.  Select  as  much  as  you 
wish  at  25£  to  40£  a  foot  based  on  quantity.  Also 
rare  color  shots  of  SHOOTING  THE  RAPIDS  in 
mountainous  rivers  and  many  breathtaking  action 
scenes  of  Eastern  seaboard  MAINE  TO  VIRGINIA. 
NEIL  DOUGLAS,  Explorer  &  Lecturer,  Box  664, 
Meriden,    Conn. 

MISCELLANEOUS 

■  KODACHROME  DUPLICATES;  8mm.,  or  16mm.. 
11£  per  foot.  Immediate  service  on  mail  orders. 
HOLLYWOOD  16  MM  INDUSTRIES,  Inc.,  6060  Hol- 
lywood  Blvd.,    Hollywood  28,   Calif. 

9  NO  NEGATIVE  ?  ?  ?  Send  picture  or  transparency 
and  $1.00  for  new  negative  and  2  5x7  enlargements, 
CURIO-PHOTO,  1187  Jerome  Ave.,  New  York  52. 

■  SOUND  RECORDING  at  a  reasonable  cost.  High 
fidelity  16  or  35.  Quality  guaranteed.  Complete  studio 
and  laboratory  services.  Color  printing  and  lacquer 
coating.  ESCAR  MOTION  PICTURE  SERVICE,  Inc., 
7315  Carnegie  Ave.,  Cleveland  3,  Ohio.  Phone:  Endi- 
cott   1-2707. 

B  TWO  4  x  5  BL.  &  W.  ENLARGEMENTS  and  nega- 
tive from  your  moviefilm,  or  two  colorprints  from 
colorfilm.  Send  frames  and  one  dollar.  CURIO- 
PHOTO,   1187  Jerome  Ave.,  New  York  52. 

■  16MM.  SOUND  movie  camera  for  rent.  Write 
ANTHONY  IOVINO,  86-01  Commingwealth  Blvd., 
Bellerose.   N.   Y. 


THE  ACL  LEADER 

signature  of  a  GOOD  FILM 

To   all  ACL  Members: 

If  you  haven't  ordered  your  ACL 
Leaders  yet,  you're  missing  all  the 
glow  and  sparkle  that  the  beautiful 
color  footage  will  add  to  your  fin- 
ished films. 

Against  a  dark  background,  the 
earth  —  with  the  continents  vari- 
colored against  the  rich  blue  seas  — 
revolves  slowly  until  the  sparkling, 
crystal  letters  ACL  fade  in  across  the 
sphere's   curvature. 

Then  a  narrow  band  of  brilliant 
red,  bearing  in  white,  raised  letters 
the  word  MEMBER,  swings  across 
the  globe.  A  second  band  of  red, 
with  AMATEUR  CINEMA  in  white, 
zooms  in  from  the  right  and  is  fol- 
lowed by  a  third  red  band,  with  the 
word  LEAGUE. 

A  smooth  lap  dissolve  follows,  and 
across  the  same  three  red  panels  ap- 
pear the  words  WORLD  WIDE  AS- 
SOCIATION OF  MOVIE  MAKERS, 
in  gleaming  white  letters.  These, 
together  with  the  sphere,  then  slowly 
fade  out. 

There's  still  more:  the  trailer.  As 
your  film  ends,  you  fade  in  once  more 
on  the  slowly  spinning  earth  —  and 
a  brilliant  red  band  sweeps  diag- 
onally across  it,  announcing  in  large 
white  letters  THE  END. 


AMATEUR   CINEMA   LEAGUE,   Inc.  3-51 

'      420   Lexington  Avenue 
|       New   York    17,    N.    Y. 

Yes,  as  a  member  of  ACL,  I  certainly  want  several 
of  the  beautiful  new  Kodachrome  leaders.  I  enclose 
my  check  or  money  order  for: 

I  . 16mm.  Kodachrome  leaders  at  $1.50  each 

8mm.  Kodachrome  leaders  at  $1.00  each 


I      Nan 


the  appropriate  angles  with  the  corre- 
sponding colors  of  ink  (Figs.  1  and  2). 
The  same  procedure  is  used  to  make 
an  8mm.  camera  plotter.  Here  the  most 
often  used  lenses  are  listed  below  with 
their  angles  of  view: 


THE  LENS 

9mm. 
13mm. 
25mm. 


THE   ANGLE 

26.1  degrees 

19.4  degrees 

9.9  degrees 


If  additional  lenses  of  longer  focal 
length  are  placed  on  the  8mm.  plotter, 
care  must  be  used  because  of  their 
small  angles  of  view.  And  you  will  be 
sure,  of  course,  in  all  instances  to  place 
half  of  the  total  angle  on  each  side  of 
the  center  line  to  secure  the  proper 
layout  of  the  plotter. 

Now  that  you  know  how  to  make  a 
camera  plotter,  let  us  discuss  some  of 
its  uses.  Let  us  suppose  that  you  have 
planned  a  simple  family  film.  The  script 
calls  for  some  scenes  in  the  living  room, 
others  in  the  kitchen,  but  you  have  yet 
to  determine  their  exact  camera  angles. 
Let's  take  the  living  room  first.  Make  a 
diagram  on  graph  paper  of  the  objects, 
props  or  furniture  in  the  room.  It 
should  be  to  scale  and  this  scale  should 
be  noted  on  the  graph  paper,  say  one 
square  equals  one  foot.  See  Fig.  3.  With 
this  done,  consult  the  script  to  deter- 
mine where  the  players  will  be  for  each 
scene.  With  your  plotter  you  can  now 
spot  the  best  camera  positions  on  the 
sketch  by  placing  the  transparent  plot- 
ter over  the  layout. 

Move  the  plotter  in  all  directions 
until  you  have  determined  the  desired 
setup.  At  a  glance  you  will  now  be  able 
to  know  exactly  what  background,  ob- 
jects and  players  will  be  in  the  scene; 
what  area  the  lights  will  have  to  cover 
and  how  many  will  be  needed;  what 
the  limits  of  player  movement  will  be, 
and  so  on.  In  fact,  for  the  greatest 
flexibility  in  shot  plotting,  don't  draw 
in  on  the  scale  diagram  any  of  the 
movable  objects  in  the  room.  Note  on 
the  diagram  only  such  fixed  objects  as 
walls,  windows  and  doors.  For  the  fur- 
niture and  such,  make  scale  cutouts  of 
them  so  that  they  may  be  moved  at 
will  around  the  scale  diagram  of  the 
room.  This  saves  a  lot  of  wear  and  tear 
on  your  aching  back. 

With  the  final  results  arrived  at, 
place  a  small  mark  on  the  sketch  to 
mark  the  camera  position.  As  you  can 
see,  a  great  deal  of  fussing  with  cam- 
era-moving, furniture  shifting,  lighting 
setups  and  players  is  done  away  with 
by  this  method — as  well  as  saving  val- 
uable film  footage  on  unsatisfactory 
shots. 

Some  readers  may  think  this  method 
an  unnecessary  chore,  but  I  have  found 
from  experience  that  in  the  long  run 
it  saves  time.  Your  home  settings  are 


MOVIE    MAKERS 


101 


not  going  to  change  very  much.  So  that 
once  you  have  them  diagrammed,  the 
rest  is  easy. 

As  an  additional  use  for  the  shot 
plotter.  I  have  found  it  most  useful  when 
doing  extreme  closeup  filming.  By  know- 
ing the  distance  from  the  lens  to  the 
object,  it  can  be  sketched  onto  the 
graph  paper.  Then  by  placing  the  shot 
plotter  over  the  sketch,  you  can  de- 
termine exactly  what  field  of  view  will 
be  covered  by  the  lens  to  be  used.  Fi- 
nally, holding  the  plotter  over  the  actual 
camera  and  object  setup  will  aid  you  in 
correcting  horizontal  parallax. 

Inexpensive  in  materials  and  easy  to 
make,  the  shot  plotter  will  soon  prove 
its  worth  in  savings  of  time  and  trouble. 
It  will  soon  also  create  improvements 
in  vour  camera  angles. 


Three-way  theatre 

[Continued  from   page  81] 

of  quarter  round.  Additional  details 
included  the  construction  of  a  stand  for 
the  projector  and  dual  turntables,  an 
acoustical  blimp  for  the  projector,  a 
small  stand  for  the  slide  projector  and 
the  mounting  of  a  permanent  screen 
and  speaker  at  the  other  end  of  the 
room.  Seating  was  provided  by  folding 
chairs. 

VENTILATION   NEEDED 

When  the  theatre  was  finished,  we 
found  that  silent  films  were  now  truly 
silent  and  sound  films  were  greatly  im- 
proved due  to  the  absence  of  projector 
clatter  and  the  absorption  of  echoes  by 
the  acoustic  tile.  The  plate  glass  (% 
inch  thick)  provided  a  completely  un- 
distorted  image,  but  transmitted  almost 
no  sound.  The  only  fault  to  be  found 
with  the  projection  booth  was  a  ten- 
dency for  it  to  heat  up  during  a  feature 
length  film.  This  is  soon  to  be  corrected 
by  the  addition  of  forced  ventilation, 
but  other  filmers  are  advised  to  allow 
for  ventilation  in  the  original  plans. 

THE  SETUP  FOR  SOUND 
The  recording  studio  and  dubbing 
room  (see  Fig.  3)  required  almost  no 
additional  work  once  the  home  theatre 
had  been  built.  With  the  projector  in 
the  booth,  narration  could  be  recorded 
outside  the  booth  without  picking  up 
projector  hum.  Music  could  be  mixed 
with  the  narration  by  means  of  the 
dual  turntable  and  mixer  circuits,  the 
operator  being  able  to  see  the  screen  at 
all  times  through  the  glass  window. 
Synchronism  was  maintained  by  one  of 
two  methods: 

(1)  Tape  recordings  were  synchro- 
nized by  means  of  the  Wilson-Garlock 
Syncro-Meter,  which  automatically  gov- 
erns the  projector  speed  so  that  it  keeps 
in  step  with  the  tape  recorder. 

(2)  Sound  on  film  recordings  were 
synchronized   by   means    of   a    synchro- 


nous motor  drive  on  the  projector 
which  keeps  in  step  with  the  synchro- 
nous motor  of  the  Auricon  Cine-Voice 
sound  camera.  The  synchronous  model 
of  the  Cine-Voice  costs  only  a  few 
dollars  more  than  the  regular  model, 
but  it  has  the  great  advantage  of  being 
usable  as  a  sound  recorder  and  double 
system  camera  as  well  as  a  single  sys- 
tem camera. 

STAGE  AND  SCREEN 

The  sound  stage  (really  the  screen  end 
of  the  theatre)  required  only  a  few  addi- 
tional changes.  Acoustic  tile  was  nailed 
to  the  ceiling  and  a  set  of  draperies  was 
put  up  to  cover  the  speaker  and  screen 
(see  Fig.  4).  When  in  use,  the  folding 
chairs  were  put  away  and  the  lighting 
and  sound  equipment  set  up.  For  some 
shots  the  drapes  were  used  as  a  back- 
drop. For  others,  a  complete  set  was 
constructed  out  of  seamless  paper 
tacked  to  laths,  which  in  turn  were  held 
together  with  C  clamps.  Furniture  for 
the  sets  was  generally  borrowed  from 
the  upstairs  apartment. 

This  three-way  theatre — packed  into 
only  189  square  feet  of  space — was  com- 
pleted in  a  little  less  than  two  months. 
And  the  results  have  eminently  justified 
the  labor  and  money  expended.  For  not 
a  week  goes  by  but  it  serves  us  handily 
in  one  or  more  of  its  three  filmic 
capacities. 


U.  S.  Pat.  No.  2260368 


GOERZ  AMERICAN 

APOGOR 

F:2.3 

the  movie  lens  with  microscopic 
definition  successful  cameramen 
have  been  waiting  for— 


A  new  six  element  high  quality  lens  for  the  16  and 
35  linn  film  camera.  Corrected  for  all  aberration  at 
full  opening,  giving  highest  definition  in  black-&- 
white  and  color.  Made  by  skilled  technicians  with 
many    years    of   optical   training. 


Fitted  to  precision  focusing  mount  which  moves 
the  lens  smoothly  without  rotating  elements  or 
shifting    image. 


This    lens    comes   in    C    mount    for    16    mm    cameras. 
Fitting   to   other  cameras   upon   special   order. 


Sizes     available     no\ 
and    75   mm  coated. 


35     and     50     mm    uncoated 


Write    for    prices,    giving    your    dealer's    nan 


Comedy  in  closeups  iheCP,  qqERZ  AMERICAN 


[Continued  from  page  85] 

lower   right ;    show   girl's   hand   picking 
up    phone,   etc.    (wind   back). 

(c)  LS,  mask  out  all  but  upper  third 
of  frame;  insert  conversion  filter  for 
outdoor  shot;  exterior  shot  of  telephone 
poles  and  wires. 

FIVE-WAY  MONTAGE 
With  this  one  behind  me  as  practice, 
I  tackled  later  on  in  the  film  a  real 
test  of  advance  planning  and  timing. 
In  the  afternoon  sequence  I  wanted  to 
suggest  the  boy's  keen  enjoyment  of 
baseball  with  his  sandlot  pals.  I  worked 
it  out  as  a  five-way  split  screen  mon- 
tage. 

Essentially  the  same  technique  (only 
more  of  it)  was  used  as  was  employed 
on  the  phone  sequence.  First,  with  a 
mask  cut  with  a  circular  opening  in 
the  center.  I  shot  an  extreme  closeup 
of  two  hands  gripping  and  swinging  a 
bat  handle.  To  achieve  the  necessary 
enlargement,  this  was  shot  in  a  titler 
with  an  accessory  lens  for  the  short 
camera-to-subject  distance.  The  foot- 
age exposed  was  4  feet  and  was,  of 
course,  carefully  recorded  on  the  frame 
counter  of  my  Bolex  H-16. 

With  this  center  scene  as  a  symbol. 
the  same  4  feet  were  then  wound  back 
four  successive  times  while  quarter- 
mask   shots   were   grouped   around   the 


OPTICAL    COMPANY 
OFFICE  AND   FACTORY 

317    EAST   34    ST.,   NEW    YORK    16,   N.    Y. 

MSI- 3 


I  CKISWOLV 

m  FILM     SPLICERS 

m         for  every  size  and  type  of  film, 

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GRISWOLD  MACHINE  WORKS 

Dep't  A,  Part  Jefferson,  N.  Y. 


V4CUUIMU 


FILM  PROTECTIVE  PROCESS 

The    SUPER 

vap  Orate 

PROTECTS  AGAINST  Scratches,  Fingermarks, 
Oil,   Water  and  Climatic  Changes. 


I 


ONE  TREATMENT 
LASTS  THE  LIFE 
OF    THE    FILM 


Brittle    Film    Rejuvenated 
IT'S    NEVER    TOO   LATE    TO    VACUUMATE 

Available   through   your   local   dealer  or  at 

VACUUMATE  CORP.,  446  W.  43rd  St.,  New  York, 
and  in  these  principal  cities:  Detroit,  Mich.,  Wash- 
ington, D.  C,  Chicago,  III.,  San  Francisco,  Calif., 
Hollywood,  Calif.,  Portland,  Ore.,  Kansas  City,  Mo., 
Raleigh.  N.  C.  Manila,  P. I.,  Canada. 


102 


MARCH    1951 


WHICH  DO  YOU  CHOOSE? 


POOR  young  television!  The  lusty  young  giant, 
now  reaching  into  the  lives  of  more  than  IO/2 
million  Americans,  has  already  been  charged  with 
an  untold  number  of  offenses  against  familial  health 
and  happiness.  Laid  at  its  gleaming  doorstep  are  in- 
creases in  eye  strain  and  the  divorce  rate,  decreases  in 
camaraderie  and  conversation.  Familiar  among  indict- 
ments against  TV  are  declines  in  reading,  children's 
report  cards,  attendance  at  sporting  events  and  at  the 
theatrical  movies.  And  yet  the  latest  of  the  arts  (?) 
surges  onward — if  not  exactly  upward. 

Therefore,,  it  isn't  going  to  bother  the  television 
industry  one  image  orthicon  if  we  add  another  charge 
to  these  mounting  indictments.  Nevertheless,  we 
hereby  do  charge  TV  with  exerting  a  dangerous  and 
debilitating  effect  on  the  hobby  of  home  movies!  How 
else  can  you  explain  the  following  facts  and  figures? 
Item  1 :  The  total  number  of  entries  in  the  ACL's 
Ten  Best  Amateur  Films  contest  for  1950  dropped 
off  43  percent  over  the  same  figure  for  1949.  This 
stands  without  reference  to  the  comparative  quality 
of  the  entries  for  the  two  years.  However,  it  also  may 
be  significant  that  in  1949  twenty  one  films  were  of 
such  excellence  as  to  demand  Honorable  Mention;  in 
1950  this  figure  sank  to  sixteen. 


Item  2:  The  total  number  of  entries  in  the  1950 
Novice  Contest  conducted  by  one  of  the  country's 
oldest,  ablest  and  largest  amateur  movie  clubs  stood  at 
three.  Entries  in  this  popular  and  money-prized  com- 
petition formerly  averaged  at  least  a  dozen.  The  drop 
in  interest:  75  percent. 

Item  3 :  Direct  mail  requests  for  tickets  of  admis- 
sion to  the  annual  Gala  Show  of  one  of  America's 
oldest,  ablest,  etc.,  8mm.  movie  clubs  stand  this  year 
at  exactly  two.  In  former  years,  twenty  five  to  thirty 
such  requests  were  received  by  mail  alone. 

In  other  words,  a  noticeable  number  of  amateur 
movie  makers  today  are  no  longer  interested  either  in 
making  good  movies  or  in  seeing  them.  For  doing 
either  one  requires  a  certain  amount  of  initiative  and 
energy.  Staring  at  television  does  not.  It  demands  of 
its  devotees  no  effort  other  than  keeping  one's  eyes 
open  and  one's  mouth  shut.  It  is — and  perhaps  this  is 
its  fundamental  weakness — an  essentially  passive 
recreation. 

Making  amateur  movies  is  anything  but  passive. 
Even  at  its  lowest  level,  it  is  essentially  a  creative 
pastime.  At  its  highest  level  of  expression,  it  may 
indeed  become  art. 

Which  do  you  choose? 


Joseph    J.    Harley,    President 
Ethelbert   Warfield,    Treasurer 

C.    R.   Dooley 
Arthur    H.    Elliott 
John    V.    Hansen 


THE    AMATEUR    CINEMA    LEAGUE,    Inc 

Founded   in    1926   by   Hiram    Percy   Maxim 

DIRECTORS 

Ralph   E.  Gray,  Vicepresident 


James  W.  Moore,  Managing  Director 

Harold  E.  B.  Speight 
Stephen  F.  Voorhees 
Roy  C.  Wilcox 


The  Amateur  Cinema  League,  Inc.,  sole  owner  and  publisher  of 
MOVIE  MAKERS,  is  an  international  organization  of  filmers.  The 
League  offers  its  members  help  in  planning  and  making  movies.  It 
aids  movie  clubs  and  maintains  for  them  a  film  exchange.  It  has 
various  special  services  and  publications  for  members.  Your  member- 
ship   is   invited.    Six    dollars  a    year. 


AMATEUR    CINEMA    LEAGUE,    INC..  420    LEXINGTON    AVE.,   NEW  YORK     1 7,   N.  Y.,  U.  S.  A. 


center  take.  These  were  other  symbols 
of  baseball,  such  as  a  gloved  hand 
catching  a  ball,  a  foot  sliding  into  base, 
an  umpire's  thumb  signaling  "Out"  and 
the  like.  There  is  no  need,  I  think,  to 
reproduce  the  script  of  this  sequence. 
Fig.  2 — which  was  alongside  the  sce- 
nario in  my  notebook — should  make  its 
execution  wholly  clear. 

TIMING  PIANO  SEQUENCE 

Also  during  the  afternoon  footage 
there  was  to  be  a  sequence  showing 
the  boy  as  he  practiced  his  piano.  This, 
I  soon  discerned,  would  involve  some 
extremely  delicate  problems  of  syn- 
chrony; for,  if  the  boy's  hands  were  to 
be  shown  in  closeup  playing  something, 
they  must  be  synchronized  later  with 
the  music  he  actually  played.  Further, 
my  plans  called  for  him  to  execute  only 
sections  of  three  different  numbers,  with 
lap  dissolves  in  between  for  the  change- 
overs. 

We  began,  without  camera,  by  hav- 
ing him  play  through  the  three  selec- 
tions singly,  while  I  recorded  each  of 


them  on  tape.  Then  I  shot  the  picture 
sequences  in  sections,  while  the  boy 
played  the  piano  along  with  the  tape 
recorder  playback.  This  system  en- 
abled him  to  perform  pictorially  in  the 
exact  tempo  of  the  recording,  and  at 
the  same  time  made  it  possible  to  stop 
the  camera  periodically  for  the  highly 
desirable  changes  in  camera  angle. 
With  each  change  in  camera  position, 
the  beginning  and  end  of  the  action 
was  purposely  overlapped  and  later 
edited  out  to  the  exact  frame  needed. 

TYPE  A  THROUGHOUT 

You  may  have  gathered  thus  far  that 
the  majority  of  the  footage  was  shot 
indoors  on  Type  A  Kodachrome.  (Even 
an  outdoor  sequence  of  faked  moon- 
light called  for  this  emulsion,  used  in 
the  usual  way  for  this  effect:  no  con- 
version filter,  side  lighting  and  up  to 
two  stops  underexposure.) 

Furthermore,  the  entire  film  in  its  fin- 
ished form  turned  out  to  be  on  Type  A. 
I  had  in  the  camera  at  one  time  some 
daylight  emulsion  and  took  the  sax  play- 


ing sequence  with  it,  using  daylight 
(blue-glass)  No.  2  photofloods.  But 
when  it  was  returned  from  processing, 
the  flesh  tones  were  so  off  color  that  I 
had  to  retake  the  sequence  on  Type  A. 
My  advice  to  fellow  filmers  is  to  con- 
fine your  indoor  subject  sequences  to 
Type  A  only,  using  roll-ends  of  day- 
light film  indoors  on  titles  if  you  wish. 
There  the  color  qualities  are  less  im- 
portant. 

All  told.  I  exposed  not  quite  400  feet 
of  16mm.  film  on  Hands  Around  the 
Clock  (using  the  tag  end  of  the  fourth 
roll  on  some  title  tests).  The  finished 
film  today  is  about  300  feet  long,  with 
such  cuts  as  were  made  being  made  for 
tempo  rather  than  faulty  footage.  The 
actual  shooting  of  the  picture  was  com- 
pleted in  five  weekends,  which  should 
bear  eloquent  testimony  to  the  value 
of  careful  planning. 


WHEN  LIGHTING  INTERIORS, 
watch  your  shadows.  Double  shadows  of 
objects  on  walls  are  distracting  and  show 
a  need  for  rearranging  your  lights. 


EVERYTHING  YOU  NEED 


TO  MAKE  BETTER  FILMS 


HERE'S  HOW  THE  AMATEUR  CINEMA  LEAGUE 
CAN  HELP  YOU  with  your  filming  interests  just 
as  it  has  advised  and  aided  more  than  100,000 
other  movie  makers: 

AS   A  MEMBER  YOU   RECEIVE 

1-The  ACL  MOVIE  BOOK  -  the  finest  guide  to 
8mm.  and  16mm.  movie  making.  311  pages  of 
information  and  over  100  illustrations.  This 
guide  sells  for  $3.00! 

2-MOVIE  MAKERS  -  the  ACL's  fascinating, 
friendly,  up-to-the-minute  magazine  —  every 
month.  Chock  full  of  ideas  and  instructions  on 
every  aspect  of  movie  making. 

PLUS  THE  FOLLOWING  LEAGUE  SERVICES 


THE  ACL  MOVIE  BOOK 


AMATIUf*    CINEMA  'LEAGUE,  INC. 


M* 


Continuity  and  Film  Planning  Service  .  .  .  planning  to  make 
a  movie  of  your  vacation?  of  your  family?  The  ACL's  con- 
sulting department  will  work  up  film  treatments  for  you,  full 
of  specific  ideas  on  the  planning,  shooting  and  editing  work. 
Special  forms  are  available  to  help  you  present  your  ideas 
to  the  consulting   department. 

Club  Service  .  .  .  want  to  start  a  club?  The  ACL  club  depart- 
ment will  give  you  helpful  tips  based  on  experience  with  clubs 
around  the  world  for  more  than  23  years. 

Film  Review  Service  .  .  .  you've  shot  your  film  and  now  you 
want  to  know  how  it  stacks  up?  Are  there  sequences  in  it 
that  you're  not  quite  sure  of?  Any  8mm.  or  16mm.  film  may 
be  sent  to  the  ACL  at  any  time  for  complete  screening,  de- 
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problems  that  you  may  come  up  against  are  published  at 
intervals.  They  are  yours  for  the  asking.  Current  booklets 
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EXTRA  -  NOW     AVAILABLE! 

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3-51 
AMATEUR    CINEMA    LEAGUE,    Inc. 
420    Lexington    Avenue 
New   York    17,   N.   Y. 

I  wish  to  become  a  member  of  the  ACL,  receiving 
the  ACL  MOVIE  BOOK,  Movie  Makers  monthly,  and 
all  the  League  services  for  one  year.  I  enclose  re- 
mittance for  $6  (of  which  $2  is  for  a  year's  sub- 
scription to  Movie  Makers)  made  payable  to  Amateur 
Cinema    League,    Inc. 


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Change  lenses  that  quick!  Simply  turn  the 
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MOVIE    MAKERS 


107 


CloseupS— What  filmers   are  doing 


Teenagers  note:  We  have  published 
from  time  to  time  notes  on  some  of 
our  busier  members,  who  seem  to  be 
equipped  with  four  hands  and  require 
no  sleep.  But  these  eager  beavers  must 
now  give  the  floor  to  one  Mickey  Hart. 
ACL,  high  school  student  of  Modesto, 
Calif. 

In  addition  to  his  studies,  Mickey 
manages  to  handle  a  paper  route;  his 
own  radio  show,  Teen  Turntable  Time, 
on  KTRB-FM  every  weekday  afternoon 
from  5:30  to  6:00;  a  fifteen  minute  pro- 
gram for  the  Boy  Scouts  on  the  same 
station,  Saturday  nights  at  7:45,  and 
still  bave  time  for  planning  and  shoot- 
ing his  own  8mm.  films.  Mickey  has 
two  films  on  the  rewinds  at  the  mo- 
ment and  is  busy  as  well  organizing 
a  high  school  movie  club. 

I  N  this  cawnah,  ladies  and  gentlemen, 
we  give  you  Miss  Emily  Materna,  ACL. 
of  Memphis,  Tenn.,  standing  6  feet  2 
inches,  weighing  210  and  wearing  pur- 
ple trunks!  All  of  which  is  the  simple 
truth,  so  help  us,  save  perhaps  the  pur- 
ple trunks,  and  we  get  the  impression 
Miss  Materna  would  not  scorn  them,  if 
she  thought  they  would  advance  her 
project  of  the  moment. 

A  new  member  of  the  League  and  a 
relatively  new  movie  maker.  Miss  M.  is 
obviously  an  individual  who  gets  a  big 
bang  out  of  life.  Behind  her  latest  hobby 
are  stints  as  a  student  concert  pianist, 
a  teacher  of  dancing  and  a  producer  of 
little-theatre  drama.  Augusta,  Ark., 
where  she  began  her  exuberant  exist- 
ence, was  clearly  too  confined  for  such 
a  personality,  so  that  her  parents  soon 
moved  to  Memphis  before  the  infant 
Emily  could  start  raising  a  rumpus.  For 
a  good  many  recent  years  Emily  has 
traveled  on  tickets  of  her  own  choosing. 
her  most  recent  junket  being  a  three 
week  safari  with  another  girl  through 
Guatemala. 

When  she  stays  home.  Miss  Materna 
is  a  rate  extension  clerk  in  the  Memphis 
freight   station   of  the   Missouri  Pacific 


EMILY  MATERNA,  ACL,  of  Memphis,  smiles  as 
she  dreams   of  her  future   filming   adventures. 


Lines  and  a  member  of  the  Memphis 
Amateur  Movie  Club.  The  lenses  on  her 
Bolex  H-16  are  a  1  inch  f/1.5,  an  //2.7 
wide  angle  and  a  6-inch  telephoto.  Of 
her  recent  ACL  membership  she  says 
simply:  "I  wish  to  thank  you  for  allow- 
ing me  to  become  one  of  you." 

Apparently,  the  good  folks  at  Holly- 
wood, Florida,  have  been  keeping 
George  Merz,  ACL,  and  Mrs.  Merz  so 
busy  putting  on  their  pctures  that  they 
have  had  little  time  to  worry  about  the 
weather. 

Beginning  late  in  January  and  carry- 
ing through  last  month,  Mr.  Merz  has 
had  four  shows  at  the  new  Hollywood 
Amphitheatre,  with  audiences  averaging 
around  1200  and,  he  says,  a  brilliant 
image  on  an  8  by  10  foot  beaded  screen. 
In  between  these  he  has  kept  his  proj- 
ector warmed  up  with  three  screenings 
at  the  city's  Shufrleboard  Club,  two  at 
meetings  of  the  Miami  Movie  Makers. 
ACL,  and  a  single  appearance  at  the 
Hollywood  Women's  Club. 

Dr.  Joseph  J.  Macko,  ACL,  of  Cleve- 
land, Ohio,  is  planning  a  production 
built  around  the  activities  of  Gilmour 
Academy,  a  boys'  prep  school  near  the 
city  operated  by  the  Holy  Cross  Broth- 
ers  from   Notre   Dame   Academy. 

I  an  Pollard.  ACL.  who  sent  us  New 
Zealand  Reporting!  on  page  118,  has 
been  making  amateur  movies  for  nearly 
three  years — or  since  shortly  after  he 
got  through  a  four  year  hitch  in  the 
New  Zealand  Army  overseas. 

His  camera  he  describes  as  an  old. 
English-made  Cine-Kodak  8  Model  20. 
with  an  f/1.9  lens  which  gives  perfect 
definition  even  in  the  mountainous  long 
shots  which  face  it  during  his  holidays. 
Allied  with  it  are  a  Kodascope  8  Model 
33  projector,  a  Weston  Master  II  ex- 
posure meter  and  a  tripod  which  (in 
his  article )  he  ruefully  admits  he  rarely 
uses. 

A  member  of  the  Otago  Cine  Photo- 
graphic Society,  Mr.  Pollard  last  year 
won  the  Holiday  Film  and  Junior  Cup 
competitions  and  took  second  in  the 
club's  four-minute  contest.  His  other 
hobbies  are  indoor  basketball  and  moun- 
tain climbing  (he's  a  member  of  the 
New  Zealand  Alpine  Club),  especially 
in  the  rugged  and  unknown  southwest 
corner  of  the  South  Island.  (That  Not- 
ornis,  by  the  way,  which  he  reports  as 
rediscovered  there  is  simply  "a  genus 
of  flightless  birds  allied  to  the  gallin- 
ules,"  which  in  turn  stem  from  the  Latin 
gallinula,  a  diminutive  of  gallina,  or 
hen.) 

Work-wise  Mr.  Pollard  is  with  the 
government  Income  Tax  department; 
heart-wise,  he  adds,  he  is  still  single 
and  with  no  attachments. 


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108 


APRIL   1951 


THE  EASY  WAY  TO 


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GENERAL 


ELECTRIC 


THE  MAGAZINE  FOR 
Bmm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


Closeups 

The   reader  writes 

New  ACL  members 

I   heard   it  with   my  own  eyes 

Filming  a  festival 

Hints  on  dual  turntables 

New  Zealand  reporting! 

Fine  frames 

Sequencing    Sequoia 

The  clinic 

Talking   of   the    Ten    Best 

Will  they  fit  my  camera? 

News   of    the    industry 

Clubs 

On    setting    standards 


April 
1951 

What  filmers  are  doing    107 

110 

112 

William  Howe,  ACL    113 

Helen  C.  Welsh,  ACL    114 

Jack  E.  Gieck,  ACL    1  1 6 

Ian  Pollard,  ACL    1 1  8 

From  readers' films    119 

Felix  Zelenka    120 

Aids  for  your  filming    124 

James  W.  Moore,  ACL    125 

Robert  T.  Kreiman    126 

Reports  on  products    128 

People,  plans  and  programs    134 

Editorial   138 


Cover   photograph    by    Roy   Pinney   from   Monkmeyer 


JAMES  W.  MOORE 
Editor 


DON  CHARBONNEAU 
Consultant  Editor 


-,/ 


ANNE  YOUNG 
Advertising  &  Production 


Vol.  26,  No.  4.  Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
League,  Inc.  Subscription  rates:  g3.00  a  year,  postpaid,  in  the  United  States  and 
Possessions  and  in  Argentina,  Bolivia,  Brazil,  Chile,  Colombia,  Costa  Rica, 
Cuba,  Dominican  Republic,  Ecuador,  El  Salvador,  Guatemala,  Haiti,  Honduras, 
Mexico,  Nicaragua,  Panama,  Paraguay,  Peru,  Spain  and  Colonies,  Uruguay  and 
Venezuela;  S3. 50  a  year,  postpaid,  in  Canada,  Labrador  and  Newfoundland; 
other  countries  £4.00  a  year,  postpaid;  to  members  of  Amateur  Cinema/League, 
Inc.,  $2.00  a  year,  postpaid;  single  copies  25£  (in  U.  S.  A.).  On  sale/at  photo- 
graphic dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3,  1879.  Copyright, 
1951,  by  Amateur  Cinema  League,  Inc.  Editorial  and  Publication  Office:  420 
Lexington  Avenue,  New  York  17,  N.  Y.,  U.S.A.  Telephone  LExington  2-0270. 
West  Coast  Representative:  Wentworth  F.  Green,  6605  Hollywood  Boulevard,  Los 
Angeles  28,  Calif.  Telephone  HEmpstead  3171.  Advertising  rates  on  application. 
Forms  close  on  10th  of  preceding  month. 

CHANGE  OF  ADDRESS:  a  change  of  address  must  reach  us  at  least  by  the 
twelfth  of  the  month  preceding  the  publication  of  the  number  of  MOVIE 
MAKERS  with  which  it  is  to  take  effect. 


MOVIE    MAKERS 


109 


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CINE    EQUIPMENT 


110 


APRIL    1951 


This  department  has  been  added  to  Movie  Makers 
because  you,  the  reader,  want  it.  We  welcome  it 
to  our  columns.  This  is  your  place  to  sound  off. 
Send  us  your  comments,  complaints  or  compli- 
ments. Address:  The  Reader  Writes,  Movie 
Makers,  420  Lexington  Ave.,  New  York  17,  N.  Y. 


EDITING    UNFINISHED 

Dear  Mr.  Moore:  I  noted  with  interest 
your  editorial  (Which  Do  You  Choose?) 
in  the  March  issue  of  Movie  Makers. 
While  I  suspect  that  you  had  your  tongue 
in  cheek  when  you  wrote  it,  I  can  tell 
you  that  I  have  been  trying  since  No- 
vember to  edit  some  film  I  took  at  that 
time  in  Florida.  I  haven't  completed  it 
yet.  thanks  to  the  installation  of  a  TV 
set. 

Warren  A.  Levett.  ACL 
West  Hartford.  Conn. 

LACK   OF   TIME 

Gentlemen:  Your  March  editorial  is 
"way  off  base."  Has  it  occurred  to  you 
that  it  might  be  the  lack  of  time  and 
the  cost  of  equipment  (ridiculous  in 
some  cases)  that  is  preventing  the  "peas- 
ants" from  participating  more? 

I  would  give  my  back  teeth  to  win  a 
Ten  Best  award.  But  I  can  neither  pur- 
chase the  type  of  equipment,  quantity  of 
film,  nor  can  I  get  together  enough  time ! 

I  too  dislike  TV  intensely;  I  don't  and 
probably  won't  own  a  set.  But  blaming 
TV  as  you  do  in  this  editorial  is  too  far 
fetched. 

T.  A.  Ludwic.  ACL 
White  Plains,  N.  Y. 

Let's  ask  Mr.  Levett  what  happened  to 
his  time. 

"PAINT-BRUSHING"   RECOMMENDED 

Sirs:  Bully  for  Critchell's  colorful  arti- 
cle reviving  interest  in  the  neglected  art 
of  bad  movie  making! 

Possibly  through  an  oversight,  no 
mention  was  made  of  the  really  funda- 
mental technique  of  "paint-brushing."  It 
is  here  that  it  is  possible  to  cover  a  much 
larger  area,  or  "swath,"  by  moving  the 
camera  back  and  forth — or.  for  that 
vital  spark  of  variety,  up  and  down. 
Hence  the  term  "paint-brushing." 

After  resorting  to  this  technique,  I 
have  seen  guests  overstay  their  visit  for 
hours,  encoring  a  film  simply  because  it 
inadvertently  contained  a  steady  shot  or 
two. 

Richard  H.  Parytn,  ACL 
Hyattsville.  Md. 

SEE   "IN    BEAVER   VALLEY" 
Dear  Mr.  Moore:  Sometime  ago  I  read 
in  one  of  the  movie  magazines  a  short 
review  of  the  picture  In  Beaver  Valley. 


I  have  since  seen  this  picture  twice,  the 
first  time  for  pure  entertainment,  the 
second  to  profit  by  its  lessons  in  supe- 
rior color  photography. 

It  is  my  conviction  that  every  ACL 
member  should  see  this  picture,  not 
once  but  several  times.  I  received  more 
insight  into  composition,  camera  angles 
and  color  rendition  than  I  have  been 
able  to  receive  in  several  years  of  movie 
making  and  study. 

Homer  E.  Carrico,  ACL 
Dallas,  Texas 

First  recommended  in  these  columns  bv 
Fred  C.  Ells,  FACL,  of  San  Diego,  this 
Walt  Disney  documentary  was  honored 
only  last  month  by  receiving  the  Academy 
"Oscar"  as  the  best  two-reel  short  subject 
of  1950. 

AID   IN   TURKEY 

Dear  Movie  Makers:  I  noticed  in  your 
listing  of  my  membership  in  a  recent 
issue  that  you  gave  my  address  as  c/o 
Postmaster,  New  York,  N.  Y.  It  might 
be  of  more  interest  to  other  members  if 
it  were  known  that  I  am  presently  sta- 
tioned in  Ankara,  Turkey,  and  would  be 
only  too  glad  to  render  any  assistance 
I  can  to  anyone  desiring  information 
about  this  very  interesting  country. 

Major  John  T.  Slusher.  ACL 
U.S.  Air  Force  Group 
APO  206-A.  c/o  Postmaster 
New  York.  N.  Y. 

WHEN,    INDEED! 

Dear  Sirs:  I  have  just  read  Card  Stops 
Cop  on  page  43  of  the  February  issue. 
May  I  ask  when  did  it  become  necessary 
for  a  photographer,  amateur  or  profes- 
sional, to  have  a  license  to  take  pictures? 
E.  Dale  Kearns.  ACL 
Greensboro.  N.  C. 


"RUSSIAN    EASTER"    NOT   RED 

Dear  Mr.  Charbonneau:  Would  it  be 
possible  for  you  to  substitute  another 
film  for  Russian  Easter  which  you  have 
booked  for  our  club  screening  in  March? 
My  reason  for  asking  this  is  because 
of  the  present  strong  feeling  against 
anything  Russian.  I  am  afraid  that  when 
the  announcement  of  our  club  program 
is  published  in  our  local  paper  many 
non-members  would  misunderstand  just 
what  our  club  is  up  to. 

(Name  Withheld) 
Middletown,  U.S.A. 

Maxim  Memorial  Award  winner  in  1942, 
Russian  Easter  was  reviewed  by  the  ACL 
at  that  time  in  part  as  follows:  "Russian 
Easter  is  a  reverent  and  impressive  record 
of  the  celebration  of  Easter  in  the  Russian 
Orthodox    (Eastern)    Church    and    in    the 


homes  of  Russians  living  in  this  country 
(the  United  States)  .  .  .  George  Serebry- 
koff  has  made  a  sincere  and  moving  docu- 
mentary that  bolsters  one's  faith  in  the 
future  of  amateur  films." 

We  see  no  reason  now  to  change  this 
estimate  in  the  slightest.  Mr.  Serebrykoff 
— a  naturalized  citizen  of  the  United 
States,  who  later  served  for  three  years  in 
the  U.  S.  Army — produced  the  picture  in 
New  "York  City  and  at  a  neighboring  Rus- 
sian Orthodox  church  in  New  Jersey.  It 
seems  probable  that  if  the  heart-warming 
religious  rites  which  it  pictures  were  in 
practice  today  in  Soviet  Russia,  our  world 
would  be  the  better  for  it. 

HOMEMADE   LEAGUE   LEADER 

Dear  ACL:  Perhaps  others  of  our  over- 
seas members  might  be  interested  in  the 
simple  yet  effective  way  I  have  recently 
created  my  own  ACL  membership  leader. 
Being  unable  to  purchase  the  official 
colour  leader  because  of  currency  re- 
strictions. I  have  used  one  of  the  attrac- 
tive decals  you  sent  me  in  a  small  titler 
to  make  a  good  substitute.  Further,  it 
has  the  advantage  of  bearing  one  s  own 
name. 

Lee  Montaigne,  ACL 
Sydney.  Australia 

BACK   COPIES,    PLEASE 

Dear  Sirs:  I  have  been  successful  re- 
cently in  securing  current  copies  of 
your  excellent  journal.  But  it  has  proved 
impossible  to  find  any  back  copies,  to 
which  there  is  often  helpful  reference. 
Now  I  turn  to  you  to  ask  if  there 
would  be  any  possibility  to  get  them 
through  some  of  your  readers.  I  should 
like  to  get  issues  in  the  years  1947,  '48 
and   '49  especially. 

Holger  V.  Tobiesen 
Faltskarsgatan  5 
Helsingfors,  Finland 


In  this  column  Movie  Makers  offers  its  readers 
a  place  to  trade  items  of  filming  equipment  or 
amateur  film  footage  on  varied  subjects  directly 
with  other  filmers  Commercially  made  films  will 
not  be  accepted  in  swapping  offers.  Answer  an 
offer  made  here  directly  to  the  filmer  making  it. 
Address  your  offers  to:  The  Swap  Shop,  c/o 
Movie  Makers. 


FEW   CITIES   REMAINING 

Dear  Swap  Shop:  I  want  to  report  the 
amazing  results  of  my  request  in  this 
column  a  couple  of  months  ago.  At  that 
time  I  asked  ACL'ers  in  a  large  num- 
ber of  far-off  places  if  they  would  be 
willing  to  take  some  shots  of  the  cities 
I  visited  during  my  Air  Force  travels. 
The  response  has  been  overwhelming. 
To  date  I  have  heard  from  four 
chaps  in  Australia,  three  in  New  Zea- 
land, two  in  Egypt,  and  one  in  Natal. 
Brazil.  That  leaves  a  few  cities  remain- 


MOVIE    MAKERS 


111 


ing.  and  if  anyone  in  these  areas  could 
help  me  out.  I  could  complete  my  film. 
The  places  are  the  following:  Calcutta. 
Bombay.  Allahabad.  Karachi.  New  and 
Old  Delhi  and  Agra,  all  in  India:  Cairo. 
Casablanca  and  Tripoli,  in  Africa; 
Myitkyina,  Burma,  and  Pearl  Harbor. 
T.  H. 

Kodachrome  in  8mm.  is  what  is  need- 
ed. And  I  shall  be  most  pleased  to 
reciprocate  with  shots  of  New  England 
— or  with  raw  film,  if  desired. 

Bernard  Leftox.  ACL 
1416  Blue  Hill  Avenue 
Mattapan  26.  Massachusetts.  U.S.A. 

ENGLAND  FOR  CEYLON 
Dear  Swap  Shop:  I  intend  making  a 
documentary  film  for  which  I  require 
16mm.  color  footage  in  and  around  the 
following  places  in  England:  Wands- 
worth. Eton  and  Kings  College.  Cam- 
bridge. In  return  I  could  supply  equal 
footage  of  Ceylon  scenes  or  Ceylon  in- 
dustries such  as  our  famous  Ceylon 
tea.  .  .  .  Please  write  Air  Letter. 

H.  C.  Peiris 
"Shanti"    (No.   19 1 
Gregory's  Road 
Colombo.  Ceylon 

MISSIONS    FOR    LOS   ANGELES 

Dear  Swap  Shop:  I  am  making  an 
8mm.  movie  to  be  called  Missions,  and 
I  shall  be  glad  to  exchange  scenes  in 
or  around  Los  Angeles  for.  say.  12  or 
15  feet  of  any  mission  in  your  section 
of  the  country. 

"u  hen  shooting  these  pictures,  will 
you  please  try  to  include  some  of  the 
padres  in  the  scenes  and  to  have  a  good 
blue  sky  as  a  background?  Also  be  sure 
to  send  me  data  on  the  mission  and 
scenes  taken,  and  I  will  follow  any  in- 
structions  given   to    me. 

Douglas  Archer.  ACL 
353  N.  Foothill  Road 
Beverly  Hills.  Calif. 

PYRAMIDS    NEEDED 

Dear  Swap  Shop:  I  need  about  10  feet 
of  16mm.  color  film  of  the  pyramids  at 
Cairo.  Egypt.  I  should  like  to  add  this 
to  a  picture  I  made  there  last  summer, 
but  missed  getting  the  pyramids. 

I  would  be  glad  to  buy  this  footage    j 
...  or  what  can  I  film  for  you? 

Hodges  Honxoll.  ACL 
700  Commercial  Title  Bldg. 
Memphis  3.  Tenn. 

INDIA   FOR   EQUIPMENT 

Fellow-  Filmers:  Are  any  of  you  in- 
terested in  personally-made  films  of  my 
country,  or  in  books,  objects  of  art  and 
so  on  from  India?  If  so.  Fd  be  glad  to 
swap  them  with  you  for  raw  film  and 
items  of  equipment  you  could  buy  for 
me.  Because  of  currency  restrictions.  I 
can't  send  money  out  of  the  country. 

N.  P.  Hariharan.  ACL 
Rajam  House.  Minchin  Road 
Jagathy,  Trivandrum.  India 


filmed  ourTestrexD0eo-frt0.Ca—  h- 
ideal  sound-on-nL  ^  Ctatlons  as  the 
100-  service  without  t™' '  -has  «iven 
the  first   30,000   feet   ,hi^1S   °he°k  duri«S 


j  =   sensation31 •' " 

vnice  camera   is   =  simple  to 

■Aunco"  Cl"e0"ve  average.   ^        ^^ ^  ** 


Hollywood,    California 


every   "«' — 

Harold  s   ri>  D  k0 


Harold   - 
Sioux  ran 


O&l  "t-"- 

S.   Dakota 


nDld  the   first    tests  .a,ingosorand 
-fresult^  -elous, 

?,  Van  Ga-wz 

Berchem-Anvers  B-lgiuw 


£*!**»•*« 


"lVe  have  ho 
:  the  Da„  bee« 

-^  Cooper  P, 
De^oit,Tl!  Phot°e^P 


I  own  one  of  your  new  Auricon  16  mm 
sound  recording  Cameras.   It  has  been 
giving  me  very  good  service  and  I 
certainly  enjoy  using  it." 

?W.  M.  Pate,  jjl..   Vice  President 
Panther  Oil  and  Grease  " 
Fort  Worth,  Texas 


Co. 


foment  ,or 
are  now 
Pmeht  and 


1  have 
have 


been 
sed 


«ea    ,,1U 
'  fran 


Used  Auric 


ery  we\°°"  ^P^ent 


-  —  y    wen    «==,+" .  ~***",=f«L  and 
.^th  the  ri,Satlsfied 


results 


obt 


San 


and 
Jined. ' 


'ti0n  Picture  Mf 

•    California 


Since  receiving  the  Cine-Voice  Camera 
several  weeks  ago  we  have  been  using  ' 
daily  in  our  television  work 
it '- 


a  very  good  camera.. 


Frankly 


..;  Ze   been  using  your  Auricon-Pro^ra^ 

for  the  past  re.  »«"  »CaB.r,  P"f«tly 
lne  results,  we  f in     ^  especially  happy 
adapted  to  °^e£\he  ^^ 

I  K0TV-Cameron  Teievis 


WAFM-TV  Birmingham,  Alabama 


we  tested  this  Cine- 
found  it  to  be  superb 
sold  and  we  would  app, _, 
shipment  of  another  unit. 


ajiipmeiiL  01  anothei 

Paul  R,(Jjtend-tem 

Tampa  Home  Mov- ~  "- 


ce  Camera  and 
It  was  promptly 
would  appreciate  immediate 


Tampa,  Florida 


Center 


«— =» ■e-*0-'  „„    of    seeing 

"Havehad^e_pieasurensational.„ 


the  Auricon, 
U      „    ,s  Clovis, 

Duffy  s 


New  Mexico 


.  ■  ira  '-■■-' 
-  :  AW  consider^icon  foV 

"-  haVen  p"-d  T°^e-  "?** 
h*s  be=nt   ones   and---  ry.° 

differeen  very  satisfa  tor 

n-^i^oc.fru-a^rion 

To   000   faemeraof   fit-  ^th  the   Auricon,    and 
have  had  perfect   results... 

1  %<m  l  Pottnaty 

VITCN-TV  x  Minnesota 

Minneapolis  -  it.  r 


"Being  a  satisfied  user  of  the  Auricon-Pro 
Camera  in  our  Television  Motion  Picture 
Department  we  are  interested  in  your  new 
camera,  the  Cine-Voice." 


"Our 


<..-=S"W-""S* 


Auricon-r'"   _0=.ilts 


camera,  the  Cine-V 

V.  A.  -beBeaukiett,   TV  Studio  Supervisor 
XSTP-TV 
[St.  Paul  and  Minneapolis,  Minnesota 


■  T]  e  Auricon-Pro  »hich  »e  have  been 
using  on  Television  work  has  been 
giving  excellent  results. 
Qe&n<f&  G.  G0O*t,V.ST.   Photo  Dept. 

Creative  Advertising 

Cincinnati,  Ohio 


—   ~  Pro  -01"    i.c 
Auricon-Pr    resUits. 

Hellenic    inolS 
Chicago,  V^^ 


he  Cine-Voice 


customer  30  minut 
Hadden  Fiiras  Lou. 


»as  sold 


to  a  very 


—  w«  a   ver\ 
es  after  we  recei 


ived 


happy 


lmS     Lo"isviUe)  Kent 


ucky 


"I  took  home  a  Cin 
a  test  film  and  wa 


-Voict 


.  film. ■•"""    , , 
.-   Camera  and  made  J4(dlty   o>^^ 
lm  and  was  very  pleased  with  the  1     _.'_■_  »k„f 
ound  track  was  exc 
was  very  steady." 

Co.    Chi 


"■" V  the  Auricon" 
■IhadAhe    Pleasure^  u,  ^  ^ 
dual-Phono  l»™«*Wy     t,useum   ..very 

Chicago  Natural  Hx»  turntable. 

flexible  and   eriij- 

'■Jj/lu  litiian  (jnay 

ichicago,    ^^*„^~  s    ,ested     | 

rpeerr-nsas 

.  tv      :.  iricon    sound-on- 
n...Heard  asample   of  the^    cQuid  be  desirea. 

film.  ..and  it  u« 


i  look  nome  a  ume-voice  Camera  and  made 
a  test  film  and  was  very  pleased  with  the 
results.   The  sound  track  was  excellent 
and  the  picture  was  verv  steadv. n 

Central  Camera 


££££  --h  Sina 


icago,    111. 


Write  for  YOUR  free  AURICON  Equipment  Catalog 

RCA  LICENSED    {^^^woojQ     GUARANTEED  ONE  YEAR 

BERNDT-BACH,  Inc.  \*M 

7383  Beverly  Blvd.,  Los  Angeles  36,  Calif. 


MANUFACTURERS  OF  SOUND-ON-FILM  RECORDING  EQUIPMENT  SINCE  1931 


112 


APRIL   1951 


Palm  Springs  Desert  Museum,  Palm  Springs, 

Calif. 
Henry  Cyr,  IF  aterbury,  Conn. 
H.  R.  Dean,  Binghamton,  N.  Y. 
M  H.  Golden,  Hartford,  Conn. 
Alfonso  Gonzalez,  East  Boston,  Mass. 
Murray  Klein,  Brooklyn,  N.  Y. 
Mark  Lansburgh,   Washington,  D.  C. 

D.  C.  Marshall,  Weston,  Canada 

Dr.  Frank  S.  Palik,  St.  Petersburg,  Fla. 
Jerry  Biedka,   Chicago,  Ml. 
Merton  M.  Carter,  Petoskey,  Mich. 
Tom  C.  Chapman,  jr.,  c/o  P.  M.,  New  York 

City 
Robert  L.  Clarke,  Niagara  Falls,  N.  Y. 
George  T.  Elgin,  Binghamton,  N.  Y. 
S.  W.  Cleland,  Dunedin,  New  Zealand 
Norman  W.  Glickman,  Brooklyn,  N.  Y. 

E.  A.  Powellek,  St.  Paul  Minn. 
Otto  A.  Prier,  0.  D.,  Robinson,  111. 
William  G.  Sagady,  Dearborn,  Mich. 

David  L.  Burdick,  Rockford,  111. 

Dept.  of  Instructional   Materials,  Pleasan- 

ton,  Calif. 
C.  J.  Fuchs,  Alberton,  South  Africa 
T.  Goldman,  Montreal,  Canada 
Rev.  Oral  Hart,  Sacramento.  Calif. 
Charles  J.  Kotoun.  Mansfield,  Conn. 
Arthur  H.  Olson,  Oak  Park,  III. 
Edward  E.  Paul,  Chicago,  III. 
John  R.  Shuman,  Minneapolis,  Minn. 
Pvt.  B.  D.  Tallis,  Fort  Bragg,  N.  C. 
Albert  J.  Wagner,  Chicago,  III. 
M.  Dale  Weaver,  Porterville,  Calif. 
R.  H.  Yanney,  North  Canton,  Ohio 

Sam  Billis,  Southbridge,  Mass. 

P.  F.  Bolenbaugh,  Hunter,  Okla. 

Dr.  W.  R.  Cramer,  Memuhis,  Tenn. 

Mrs.  Leo  Dawson,  Washington,  D.  C. 

W.  A.  Deutsher,  Brighton,  Australia 

Donald   W.   Kilbrith,   c/o  PM,   San   Fran- 
cisco, Calif. 

Harry  Paul,  San  Francisco,  Calif. 

J.  Donald  Shriber,  D.D.S.,  Los  Angeles, 
Calif. 

Major  Harold  A.  Wicklund,  c/o  PM,  New 
York  City 

Francis  C.  Barbush,  Harrisburg,  Pa. 

Theodore  Bunn,  New  York  City 

Dr.  Edward  Hoffman,  Pikesville,  Md. 

Arthur  Johnson,  Oklahoma  City,  Okla. 

Albert  L.  Long,  Coraopolis,  Pa. 

Robert  A.  McGowan,  Saugus,  Mass. 

Robert  F.  Barnard,  Chicago,  III. 

Jam:  s  Brown,  Mileses,  N.  Y. 

Clyde  Cheatum,  Wichita,  Kans. 

Raymond  Greenberg,  New  York  City 

Mrs.  J.  W.  Hornberger,  Youngstown,  Ohio 

Dr.  Clyde  E.  Miller,  Pensacola,  Fla. 

Theodore  Pollock,  Passaic.  N.  J. 

A.  H.  Bailey,  Letcher,  S.  D. 

Marian  Crowley,  Milwaukee,  Wise. 

Ray  Fahrenberg,  Milwaukee,  Wise. 

Myrtle  Gronning,  Milwaukee,  Wise. 

P.  L.  Grundeen,  Estevan,  Canada 

Klamath  Camera  Club,  Klamath  Falls,  Ore. 

Arthur  F.  Schmidt,  Cincinnati,  Ohio 

Mrs.  H.  P.  Wise,  Cambridge,  Md. 

Gilbert  G.  Browne,  New  York  City 

Michael  W.  Holm,  New  Brighton,  Minn. 

Prof.  Piero  Meroni,  Milano,  Italy 

George  A.  Morgan,  Lincolnwood,  III. 

Marc  C.  Norton,  Champaign,  111. 

Oscar  A.  Olson,  St.  Paul,  Minn. 

C.  Wm.  Westafer,  Hopkins,  Minn. 

H.  Zoulfikar,  San  Francisco,  Calif. 

Ann  Maria  Domingos,  Macon,  Ga. 

Chris  K.  Economakis,  New  York  City 

Mrs.  Dick  Ellis,  Duncan,  Okla. 

Jack  Finear.  Rochester,  N.  Y. 

Jerome  Goldberg,  Cicero,  III. 

Mead  Corp,  E.  L.  Scott,  Chillicothe,  Ohio 

Leonard  S.  Miller,  Mattoon,  IV. 

John  B.  Perry,  jr.,  Roanoke,  Va. 

Alton  S.  Rowley,  Rochester,  N.  Y. 

Cletus  E.  Seitz,  Jackson  Center,  Ohio 

Rev.    Aloysius    Balcerak.    O.F.M.,   Buffalo, 

N.  Y. 
Peter  H.  Buckley,  New  York  City 


A  warm  welcome  is  extended  to  all  of  the  new 
ACL  members  listed  below.  They  have  been 
elected  to  and  joined  the  League  since  our  last 
publication.  The  League  will  be  glad  to  forward 
letters  between  members  which  are  sent  to  us 
with  a  covering  note  requesting  such   service. 


Frank  J.  Chandler,  Wauwatosa,  Wise. 
Elmer  Wayne  LeRoy,  Denver,  Colo. 
Senior  Hish  School  Art  Dept.,  Valley 

Stream,  N.  Y. 
Selva  Raja   Yesudian,  Zurich,  Switzerland 
Lawrence  Deaktor,  Pittsburgh,  Pa. 
Charles  J.  Kirby,  Spencerport,  N.  Y. 
S.  A.  MacSween,  Glendale,  Calif. 
Oak  Ridge  Cinema  Club,  Oak  Ridge,  Tenn. 

Dorothy  A.  Curtis,  Mount  Pulaski,  III. 
M.  H.  Lynch,  Lamed,  Kans. 
Leslie  J.  Masten,  Wilson,  Conn. 
Bruce  L.  Wood,  Rockford,  III. 
Charles  M.  Courmier,  New  Iberia,  La. 
Frank  E.  Johnson,  Hodge,  La. 
Dr.  George  A.  Karp,  Chicago,  III. 
Federico  Schwadtmann,  Maracaibo, 

Venezuela 
Waldo  J.  Tastet,  Washington,  D.  C. 
Eugene  Coy,  Kalamazoo,  Mich. 
R.  A.  Damiami,  M.D.,  W aterbury.  Conn. 
Harold  H.  Doane.  Bloomingdale,  N.  J. 
Mrs.  Audrey  Frank,  New  Hyde  Park,  N.  Y. 
Mrs.  Ernest  L.  Hann,  Seattle,  Wash. 
Gerald  W.  Kunkle,  Scottdale,  Pa. 
Gerald  W.  Rickard.  Barker's  Pt.,  Canada 
Robert  R.  Robertson,  Los  Angeles,  Calif. 
Tom  M.  Scaperlanda,  San  Antonio,  Texas 
Ralnh  E.  Snvder,  Ft.  Wayne,  Ind. 
William  S.  Woodward,  Phoenix,  Ariz. 

Harry  Gardner,  Newark,  N.  J. 

Arthur  L.  Montgomery,  Atlanta,  Ga. 

Jean  Schwietzer,  Irvington,  N.  J. 

V.  B.  Westfall,  jr.,  Fallbrook,  Calif. 

Louis  J.  Zavist,  Newark,  N.  J. 

Giorgio  Alliata.  Milan,  Italy 

Louis  Feldman,  Edgemere,  N.  Y. 

William  Huttman.  jr.,  Middle  Village,  N.  Y. 

Lloyd  E.  Weichinger,  River  Grove,  III. 

George  Chung.  Reedley,  Calif. 

Mrs.  Martin  Clancy.  Sioux  City,  Iowa 

Gilberto  Colombo.  Milano,  Italy 

A.  C.  Huah.  Chiewell,  England 

Dr.  R.  V.  P-rkins.  Pana,  II'. 

M.  L.  Potter,  Park  Ridge,  III. 

Peter  C.  Trapolino.  Rochester,  N.  Y. 

V.  N.  Wayman,  Indianapolis,  Ind. 

James  Be? worth,  Union,  N.  J. 
William  Buchele.  Toledo,  Ohio 
James  F.   DeFendis.   Fresno,   Calif. 
Gerard  Schoenwald,  New  York  City 
Harry  Zielke,  Edmonton,  Canada 
Chas.  E.  Bendorf.  Westmont,  N.  J. 
John  A.  Issaris,  Saratoga  Springs,  N.  Y. 
George  N.  Koutsoukos,  Washington,  D.  C. 
Adam  Kroehle.  Cleveland,  Ohio 
Howard  B.  Meyers,  Evanston,  III. 
Anthony  Roman,  Valley  Stream,  N.  Y. 
Smokv    Mountain    Movie    Club,    Asheville, 

N.  C. 
William  L.  Zietzke.  c/o  FPO,  San  Francisco, 

Calif. 
Chas.  H.  Grounds,  Albany,  N.  Y. 
Lawrence  Hammerstone,  Riegelsville,  N.  J. 

Odin  Hougen,  Whitehorse.  Canada 
E.  Jarolimek,  Cleveland,  Ohio 
Gordon  0.  Jatzek,  Milwaukee,  Wise. 
Mrs.  Lon  C.  Rice,  Teller,  Alaska 
Charles  J.  Baldwin,  Dallas,  Texas 
Claude  R.  Davenport.  Washington,  D.  C. 
Anthony  Iacovello,  New  York  City 
Robert  F.  Koerner,  Berlin,  N.  Y. 


Dr.  Louis  H.  Kuchera,  Albert  Lea,  Minn. 

Milton  S.  Levinson,  Flushing,  N.  Y. 

Ceicle  Vickers,  Hemingford,  Neb. 

Robert  J.  Werner.  Washington,  D.  C. 

Clyde  Whitten,  Binghamton,  N.  Y. 

Carl  W.  Judy.  Woodmont,  Conn. 

Wm.  J.  McClintock,  jr.,  Baltimore,  Md. 

Wally  Pecoroni,  East  Providence,  R.  I. 

James  R.  Bernard,  Jersey  City,  N.  J. 

W.  Lynwood  Heaver,  M.D.,  New  York  City 

Mrs.  Judy  McVey,  Sweet  Grass,  Mont. 

L.  Mould,  Toronto,  Canada 

D.  F.  Nuebling,  Evansville,  Ind. 
Ferdinand    Welebir,    M.D..    Silver    Spring, 

Md. 
Walter  F.  Westerman,  Rockwell  City,  Iowa 
Percy  I.  Estes,  Kansas  City,  Mo. 
Carl  Liebert,  Milwaukee,  Wise. 
Rev.  Frederick  L.  Long,  Paterson,  N.  J. 
Carmen  Mastri,  Chicago,  111. 
R.  D.  McKneely,  Sayville,  N.  Y. 

E.  R.  Naugle,  New  York  City 

Mrs.  I.  E.  Owen,  Fond  du  Lac,  Wise. 
James  D.  Pearson,  D.D.S.,  Wabash,  Ind. 
E.  Salmona,  Ismir,  Turkey 
Vernon  R.  Spitaleri,  College  Point,  N.  Y. 
Dr.  Frederick  Thompson,  New  York  City 
Marty  Badaracco,   W  eehawken,  N.  J. 
Joe  Barton,  Omaha,  Neb. 
Harold  E.  Bessey,  Omaha,  Neb. 
Ed.  Binkley,  Omaha,  Neb. 
J.  E.  Cama,  Brooklyn,  N.  Y. 
Ralph  Cooper.  Bronx,  New  York  City 
Jack  W.  Elliott,  Klamath  Falls,  Ore. 

Capt.  Edward  S.  Ikelman,  c/o  PM,  Seattle, 

Wash. 
Mike  Kobold,  Omaha,  Neb. 
John  L.  Koutsky,  Omaha,  Neb. 
J.  B.  Low,  Omaha,  Neb. 
Lyle  McBride,  Omaha,  Neb. 
Daniel  Metliz,  Brooklyn,  N.  Y. 
Harold  C.  Ramsey,  Omaha,  Neb. 
Orville  Reichenberg,  Klamath  Falls,  Ore. 
Jack  Stephan,  jr.,  Madison,  Wise. 
Carroll  Swindler,  Omaha,  Neb. 
George  L.  Wagner,  Omaha,  Neb. 
Wayne  Wilson,  Omaha,  Neb. 
Major  Thomas  B.  Browne,  c/o  PM,  New 

York  City 
W.  E.  Donald,  Portland,  Ore. 
E.  T.  Earnest,  Dallas,  Texas 
Paul  Eugene  Frye,  M.D.,  Lonaconing,  Md. 

Hodges  H.  Honnoll,  Memphis,  Tenn. 
Frank  E.  Marshall,  M.D.,  Weehawken,  N.  J. 
David  Nadata,  Brooklyn,  N.  Y. 

E.  J.  Ransom,  Lansing,  Mich. 
Jack  Stone,  St.  Louis,  Mo. 
Roland  Wuerth,  Valley  Stream,  N.  Y. 
A.  Fleming,  Oregon  City,  Ore. 

William    B.    Hanson,    M.D.,    Minneapolis, 

Minn. 
Lionel  Pasen,  Toronto,  Canada 
John  Pellegrini,  Vacaville,  Calif. 
Robert  W.  Rediske,  Detroit,  Mich. 
Al  Roberts,  Jackson  Heights,  N.  Y. 
Norman  J.  Tavan,  Mt.  Rainier,  Md. 
Robert  D.  Williams,  Dayton,  Ohio 

Dr.  Robert  B.  Camp,  Loveland,  Colo. 
I.  L.  Dobyns,  Bloomsburg,  Pa. 
H.  Fisher,  Brooklyn,  N.  Y. 
H.  C.  Holloway,  Burlingame,  Calif. 
Owen  E.  Ottley,  San  Mateo,  Calif. 
Julio  Megre  Pires,  Manjacaze,  Portuguese 
East  Africa 

F.  P.  Rose,  Portland,  Ore. 
William  C.  Adams,  Houston,  Texas 
James  W.  Armstrong,  Henderson,  Ky. 
Andrew  J.  Bagin.  East  Orange,  N.  J. 
Helen  L.  Barnes,  West  Burlington,  Iowa 
Anton  F.  Hudec,  Cicero,  III. 

Charles  Hyams,  Cincinnati,  Ohio 
Geneva  P.  Leilich,  R.N.,  Chicago,  III. 
Victor  Nielsen,  Teaneck,  N.  J. 
Joseph  E.  Reagan,  Philadelphia,  Pa. 
Paul  E.  Reiss,  Detroit,  Mich. 
Ernest  D.  Schettler,  Salt  Lake  City,  Utah 
John  M.  Segrave,  Charlotte,  N.  C. 
Alfred  E.  Sipe,  Flagstaff,  Ariz. 
Dr.  D.  S.  Swart,  Portland,  Ore. 


113 


I  HEARD  IT  WITH  MY  OWN  EYES! 


WILLIAM    HOWE,     ACL 


DID  YOU  ever  stop  to  realize  what  a  complex  con- 
certo spring  really  is?  Have  you  ever  paused  to 
listen  to  the  countless  sounds  that  accompany  the 
Big  Thaw?  The  "Spring  Song"  is  a  chorus  of  literally 
thousands  of  unique  noises  which  somehow  blend  into 
a  vivid,  exciting  orchestration.  A  novel  and  revealing 
program  piece  can  be  made  by  tracking  down  the  sources 
of  this  vernal  reveille  with  your  camera. 

The  novelty  of  the  film  should  stem  from  its  appeal  to 
your  auditory  imagination.  Your  aim:  to  suggest  as  many 
of  the  characteristic  spring  sounds  as  possible  with  brief 
human  interest  shots.  Long  before  the  sound  track  and 
the  dual  turntable  got  into  the  act,  movie  craftsmen  had 
learned  the  many  ways  of  implying  sound  visually  (i.e., 
the  closeup  of  the  steamer  whistle,  the  cuckoo  clock,  the 
actor's  hand  to  his  mouth  to  denote  a  loud  call) .  See  how 
many  tricks  you  can  play  on  the  eardrums  by  showing 
your  film  to  a  group  with  no  accompaniment,  indicating 
the  sounds  simply  by  pictures  and  subtitles. 

Too  often  the  amateur  filmer  considers  his  equipment 
limitations  as  liabilities.  There  need  be  no  such  feeling 
in  making  this  movie.  More  likely,  the  very  simplicity  of 
your  tools  may  give  your  film  a  freshness  and  impact 
seldom  found  in  the  professional  extravaganzas.  I  need 
only  cite  the  artistry  of  the  early  Chaplin  comedies  as 
contrasted  with  some  of  today's  gilded  lemons  to  estab- 
lish that  point.  Movies  are  still  made  with  imagination 
and  with  imagery;  let's  see  how  much  noise  you  can 
make  with  a  lens. 

Begin  your  movie  with  a  brief  montage  of  seasonal 
nature  shots — a  blossoming  bough,  an  inquisitive  robin, 
a  wind-curried  field.  Cut  to : 

The  sounds  of  spring,  like  familiar  songs,  have  a  way 
of  recalling  pleasant  memories. 

Follow  with  a  sequence  showing  a  child  sitting  by  a 
still  pond  or  pool,  tossing  pebbles  into  the 
water.  Intercut  a  few  shots  of  the  youngster's 
throws  with  frames  of  the  concentric  circles 
spreading  from  the  stones  like  sound  waves. 
Fade  to  the  subtitle: 

How  many  memories  do  you  tie  up  to  the 
rustle  of  a  kite  .  .  .  ? 

You  should  have  no  difficulty  in  getting  a 
colorful  sequence  centered  around  the  neigh- 
borhood youngsters'  efforts  to  launch  their 
kites  on  a  brisk  spring  day.  Your  telephoto 
will  come  in  handy  for  closeup  of  the  kites 
as  they  climb  and  dip  in  midair. 

.  .  .  Or  the  click  of  marbles  in  the  back 
lot  .  .  .   ? 

Round  up  the  aggie  experts  in  your  sector 
and  let  them  put  on  a  heated  exhibition  at  the 
foot  of  your  tripod.  Concentrate  on  the  intent 
facial  expressions,  the  tensed,  grimy  hands 
and  closeups  of  the  spinning  marbles. 

You  must  listen  carefully  to  catch  the  soft 
sibilance  of  a  lawn  sprinkler  .  .  . 

Set  up  your  sprinkler  so  that  its  sprays  are 
back  lighted  against  dark  shrubs  or  trees.  If 
you  maneuver  observingly  around  it,  you 
should   find   the   irridescence   of   a   rainbow. 


.  .  .  or  the  reassuring  patter  of  an  April  shower. 

Filming  the  real  McCoy  may  present  a  few  exposure 
problems,  but  a  reasonable  amount  of  skylight  will  en- 
able you  to  shoot  adequate  semi-closeups  of  water  splash- 
ing from  a  drainpipe,  raindrops  dimpling  a  casual  puddle, 
or  your  wife  opening  an  umbrella  on  the  front  porch.  You 
could  well  fake  this  sequence  by  directing  the  sprinkler 
on  one  of  your  windows  and  posing  one  of  the  family  in 
indoor  silhouette  against  the  dripping  pane.  However,  in 
staging  any  shenanigan  of  this  kind,  be  sure  that  the 
drops  fall  downward  not  upward. 

But  you  can't  miss  the  clatter  of  roller  skates  on 
cement  .  .  . 

Your  youngster  or  some  of  the  neighborhood  gang 
breaking  in  skates  for  the  spring  derby  will  provide  a 
lively  bit  of  footage.  You  might  cut  in  a  reaction  shot  of 
a  harassed,  wincing  mother  looking  out  with  hands 
clapped  over  her  ears  as  the  rollers  grind  down  the  drive- 
way. 

Nor  will  you  wish  to  miss  the  cheery  chimes  of  the 
ice  cream  wagon. 

Show  the  wagon  in  long  shot  with  its  Pied  Piper  fol- 
lowing of  children,  then  a  closeup  of  the  jingling  bells. 
The  possibilities  for  human  interest  are  unlimited  in  the 
string  of  moppets  who  respond  to  the  chimes  as  faith- 
fully as  Mohammedans  to  their  muezzin.  You  can  well 
afford  to  treat  the  tots  in  return  for  a  gallery  of  bright 
faces  smeared  liberally  with  smiles  and  ice  cream. 

Certainly  the  sharp  crack  of  a  bat  as  it  lays  out  a  hit 
is  spring's  sweetest  music. 

A  sequence  on  sandlot  baseball  will  have  a  strong  nos- 
talgic appeal,  or  the  Big  League  boys  will  give  you  a 
run  for  your  money  if  you  take  your  telephoto  to  the 
ballpark.  Inject  a  little  cacophony  into  the  sandlot  shots 
by  staging  the  eternal  "He's  safe     [Continued  on  page  137] 


Here,  in  a  spring-filming  plan  as  fresh  as  Spring, 
is  a  challenge  to  the  imagination  of  every  amateur 


THE  CtICK  OF  AGGIES  is  but  one  of  the  countless  sounds  of  Spring  which  can 
be    caught    pictorially.  Both    viewpoint    and    lighting    here    are    well    selected. 


114 


1    ■'*'  .'-'■:"■  •  ' 


FRONT  LIGHTED  ACTION  and  a  background  of  stately  elms  made 
ting  for  sequence  on  Dutch  dances.  About  25  feet  away  is  good 

CALL    IT    WHAT    YOU    WILL— festival,    pageant, 
parade    or    tableau — filming    a    public    spectacle    is 
a  ringing,  and  often  a  widely  rewarding,  challenge 
to  any  amateur  movie  maker. 

Believe  me,  I  know!  For  last  year,  at  about  this  same 
time,  I  was  deep  in  the  planning  and  later  the  production 
of  a  film  on  Albany's  week-long  Tulip  Festival.  There 
were,  of  course,  many  rewards  from  this  undertaking — 
of  which  far  from  the  least  was  the  pictures  selection  by 
the  ACL  as  one  of  the  Ten  Best  Amateur  Films  of  1950. 
There  were,  as  well,  an  uncounted  number  of  headaches, 
all  of  which  I  now  seem  to  have  survived.  Perhaps  if  I 
draw  on  (not  simply  recount)  my  experiences,  it  may 
aid  you  and  you  in  producing  your  own  festival  films. 
It's  a  grand  adventure,  really. 

THE   BASIC   COMPONENTS 

Long  before  a  foot  of  film  is  shot,  or  even  your  first 
plan  is  plotted,  it  is  truly  important  to  have  a  clear 
understanding  of  the  basic  components  of  a  public  festival. 
They  are  three  in  number:  (1)  the  settings;  (2)  the 
actions,  and  (3)   the  reactions. 

Picture-wise,  it  may  seem  that  (like  death  and  taxes) 
the  settings  will  be  always  with  us.  Nothing,  you  may 
say  to  yourself,  can  be  (or  needs  to  be)  done  about  them. 
This,  in  my  experience,  is  far  from  the  truth.  If  a  setting 
is  extraordinarily  attractive,  or  significant  to  the  theme 
of  the  spectacle,  it  should  be  pointed  up.  But  if,  as  so 
often  happens,  it  is  unattractive  or  distracting,  you  should 
watch  for  this  and,  by  changing  your  camera  positions, 
make  every  effort  to  minimize  it. 

Part  2,  the  action  presented  at  a  pageant,  is  regarded 
by  far  too  many  filmers  as  the  only  component  of  im- 
portance to  the  picture.  The  exhibits,  the  parade,  the 
dances  and  the  crowning  of  a  new  Queen — these  (or 
similar  scenes)  make  up  the  festival.  If  I  picture  them 
faithfully,  I'll  have  a  good  picture.  Thus  goes  their  rea- 
soning. 

The  sad  truth  of  the  matter  is  that  you  most  surely 
will  not  have  a  good  picture,  or  even  a  complete  one. 
In  the  first  place,  because  of  the  extended  nature  of  these 
activities,  it  is  impossible  for  any  amateur  to  film  them 


an  ideal  set- 
camera  spot. 


FILMING 
A   FESTIVAL 

HELEN  C.  WELSH,  ACL 


all  and  in  their  entirety.  Your  camera  runs 
down  in  the  darndest  places,  your  film  runs 
out  at  ditto  crises,  and  you  end  up  inevitably 
with  gaps  in  your  stream  of  action. 

Furthermore,  the  action  itself  isn't  every- 
thing in  film-telling  the  story  of  a  festival. 
Reaction  is  equally  important,  both  as  a  true 
part  of  the  picture  and  as  a  lifesaving  bridge 
over  the  inevitable  gaps  in  the  continuity. 
Look  at  it  this  way.  Suppose,  for  a  moment, 
that  an  elaborate  tableau  was  presented  with- 
out any  audience,  a  parade  without  any  people  crowding 
the  sidelines.  Impossible,  isn't  it!  The  color  and  drama 
of  any  such  spectacle  would  vanish  in  the  empty  air. 
The  living  reactions  of  the  audience  are  integral  with  the 
action — both  on  the  street  and  on  your  screen. 

So,  as  you  approach  the  production  of  your  picture, 
keep  the  three  basic  components  in  mind:  setting,  action 
and  reaction. 

ADVANCE  PLANNING 
Also  before  the  festival  itself,  there  is  much  to  be 
done  to  prepare  for  filming  it.  Collect  the  press  notices 
in  a  loose-leaf  notebook,  one  item  to  a  page.  The  loose- 
leaf  feature  will  make  it  easy  to  assemble  all  the  data  on 
individual  events  when  plans  for  the  story  begin  to  take 
shape.  Announcements  of  committee  chairmen  usually 
appear  first.  Newspaper  publicity  for  the  Albany  Tulip 
Festival  was  an  excellent  guide,  both  in  filming  the  events 
and  in  preparing  the  narration  for  the  finished  film.  If 
possible,  contact  the  general  festival  chairman  or  the 
Chamber  of  Commerce  of  your  community.  Both  these 
sources  will  furnish  information  unobtainable  elsewhere. 
Knowing  that  you  are  seriously  interested  in  filming  the 
affair,  the  chairman  will  be  more  inclined  to  give  you 
access  to  choice  camera  positions.  And  there  is  no  such 
thing  as  too  much  "official"  cooperation. 

CONDITIONS  MAY  CHANGE 
As  you  collect  and  coordinate  this  advance  information, 
your  film  plan  will  begin  to  take  shape  and  you  can  check 
specifically  over  the  ground,  noting  particularly  the  good 
camera  positions.  You'll  be  surprised  at  your  lack  of 
knowledge  of  your  own  community  once  you  begin  to 
look  at  it  with  a  movie  maker's  eye!  Sometimes,  in  spite 
of  securing  information  in  advance,  the  events  do  not 
work  out  according  to  plan.  This  was  forcibly  brought 
home  to  those  of  us  who  filmed  the  Tulip  Festival  last 
year. 

Two  events  were  scheduled  for  the  parade  ground  of 
the  park.  On  Sunday,  the  Albany  Folk  Dancers  performed 
a  group  of  native  dances.  For  photographers,  the  situation 
was  perfect.  There  was  full  front  lighting  on  the  dancers. 


From  Memorial  Day  to  the  Mardi  Gras,  picturing  a  pageant  is 

based  on  similar  principles.  A  Ten  Best  winner  tells  you  how 


115 


A  DOWN  ANGLE  on  your  offspring  against  a  background  of  tulips 
can    be    staged    as    a    reaction    shot    before    or    after   the   festival. 

a  background  of  stately  elms,  an  enthusiastic  audience 
and  a  place  for  movie  makers  to  set  up  their  tripods  about 
twenty  five  feet  from  the  front  row  of  the  costumed 
dancers.  The  following  Saturday,  although  the  same 
location  was  used,  the  stage  was  completely  turned  around 
by  a  committee  that  gave  no  thought  to  photographers 
— even  their  own!  The  coronation  scene,  the  high  point 
of  the  festival,  was  squarely  back  lighted:  good  exposure 
depended  upon  a  reliable  light  meter  and  a  place  on  the 
north  side  of  the  Green  where  overhanging  tree  branches 
helped  screen  out  the  direct  rays  of  the  sun  from  the  lens. 

ADVANCE  TECHNICAL  PREPARATIONS 
Technical  preparations  should  begin  with  a  decision  con- 
cerning lens  requirements.  For  most  outdoor  ceremonials 
the  standard  lens  and  at  least  one  telephoto  (around 
2%  to  3x  magnification)  are  needed,  the  latter  to  facili- 
tate the  change  of  viewpoint  necessary  to  good  sequencing. 
Then,  if  a  long  focus  lens  is  to  be  used,  a  tripod  is  man- 
datory. Besides  the  six  sound  reasons  for  using  one  (see 
Movie  Makers  for  October.  1950).  it  seems  that  the 
three-legged  support  carries  with  it  an  '"open  sesame" 
at  an  outdoor  fete.  To  guards  and  ticket  takers,  the  tripod 
indicates  a  seriousness  of  purpose  which  silently  opens 
the  way  for  a  front  row  place  often  denied  the  hand- 
holding  camera  amateur.  Also  you  will  find  that  the 
tripod  keeps  the  crowd  somewhat  at  bay,  for  most  people 
have  a  healthy  respect  for  those  three  sharp-pronged  legs 
your  camera  is  resting  on. 

As  a  last  bit  of  caution,  let  me  recommend  a  light 
meter  in  good  working  order.  In  a  park  or  on  a  campus 
where  light  and  shade  are  often  sharply  contrasted,  or 
on  an  open  parade  ground  under  strong  sunlight,  a  light 
meter  is  a  necessary  part  of  the  filmer's  equipment. 
Remember,  too,  that  some  of  the  events  may  extend  late 
into  the  afternoon,  and,  as  the  light  begins  to  taper  off. 
frequent  consultation  of  the  meter  is  again  wise. 

AT  LAST  ON  LOCATION 
The  chief  difference  between  most  civic  festivals  and 
the  pageant  or  tableau  on  a  college  campus  is  one  of 
duration.  The  day  on  which  the  Daisy  Chain  brings  a 
thrill  to  Vassar.  Rose  Day  at  an  Albany  college,  or  the 
famous  Hoop  Rolling  at  Wellesley  are  illustrative  of 
one-day  celebrations.  Many  communities  also  have  film- 
worthy  events  on  Memorial  Day      [Continued  on  page  130] 


CLOSEUPS  OF  THE  QUEEN  during  the  climactic  pageantry  are  best 
made  with  a  telephoto  from  decent  distance.  Shot  below  is  with 
normal    lens   from    same    position,    giving    greater    depth    of   field. 


FIGURES  IN  FOREGROUND  and  a  frame  of  branches  create  an 
ideal  setting  for  parade  which  will  come  to  camera  from  left  rear. 
Such    positions    should    be    selected    well    in    advance    of    action. 


116 


HINTS    ON    DUAL    TURNTABLES 

With  ingenuity  and  know-how,  this  amateur  assembled  dual  turntables  for  less  than  $15 

JACK    E.    GIECK,    ACL 


ARE  you  considering  dual  turntables  as  the  means 
i  of  adding  sound  to  your  movies — either  directly 
or  via  magnetic  re-recording?  Well,  if  you  decide 
to  build  your  own  outfit,  you  can  incorporate  a  number 
of  features  which  are  not  regularly  available  to  amateurs 
in  commercial  dual  turntable  models.  And  with  consider- 
able saving  on  the  pocketbook.  For  example,  the  outfit 
pictured  here  cost  me  less  than  $15.  To  be  sure,  it  does 
not  provide  its  own  amplifier  and  speaker;  and  I  must 
admit  it  required  a  little  bargain  hunting.  But  it  plays! 
Let's  concentrate  on  the  design  first.  Then  we  will  add  a 
few  tips  on  how  to  be  frugal  without  sacrificing  quality- 
such  as  playing  the  disc  sound  through  a  radio  or  your 
sound  projector.  But  we'll  come  to  that  later. 

TWO-WAY  PICKUPS 

As  for  the  turntables  themselves,  the  handiest  feature 
of  the  design  here  presented  is  one  which  has  been  used 
in  radio  studios  for  many  years — the  ability  of  either 
pickup  to  be  played  on  either  table,  or  of  both  of  them 


COMPACTLY  HOUSED,  author's  turntables  feature  two-way  tone  arms, 
light    and    projector    controls,    jack    to    radio    amplifier    and    speaker. 


HOUSE  LIGHT  LINE,  feeding  from  opposite  end  of  unit,  is  seen  above. 
Two-way  tone  arms  aid  in  spacing  music,  doubling  up  sound  effects. 


to  play  on  the  same  turntable,  as  shown  in  Fig.  1.  The 
latter  facility  is  especially  useful  in  stretching  or  cutting 
the  length  of  a  musical  selection  to  synchronize  its  final 
phrases  with  the  end  title  of  a  film. 

Fig.  1  illustrates  how  this  trick  is  accomplished.  The 
geometry  of  mounting  any  pickup,  or  tone  arm,  is  simple; 
the  pivot  point  must  be  so  located  that  the  arc  described 
by  the  phonograph  needle  passes  through  the  center  of  the 
turntable  spindle.  For  double  action,  the  tone  arms  and 
turntables  must  thus  be  mounted  in  such  a  way  that  the 
arc  described  by  each  pickup  will  pass  through  both  turn- 
table centers. 

PLACING  TONE  ARMS 

The  easiest  procedure  in  carrying  out  these  require- 
ments is  as  follows.  Lay  out  the  turntables  so  that  the 
largest  records  you  will  use  (usually  12  inch)  will  clear 
each  other  easily  (a  1  inch  clearance  is  suggested).  Then, 
with  a  compass  set  for  a  radius  equal  to  the  length  of  the 
tone  arm  (denoted  in  Figs.  1  and  2  as  the  length  "L"), 
and  using  the  centers  of  the  turntable  spindles  as  com- 
pass centers,  describe  the  arcs  which  will  intersect  at  the 
exact  points  where  the  tone  arm  pivots  should  be  lo- 
cated (see  Fig.  2).  If  you  do  not  have  a  large  enough 
compass,  the  following  alternate  method  may  be  used. 
Place  a  piece  of  soft  pencil  graphite  in  the  needle  holder 
of  an  unmounted  pickup,  and,  placing  the  pivot  over  each 
of  the  turntable  spindles,  describe  the  aforementioned 
arcs.  A  pair  of  pencils  joined  by  a  piece  of  string  may 
also  be  used. 

If  you  use  plywood  as  a  base  for  your  turntable  chassis 
(as  illustrated),  we  recommend  the  use  of  some  type  of 
resilient  mountings  to  damp  the  vibrations  of  the  turn- 
table motors;  otherwise,  these  vibrations  will  be  con- 
ducted into  the  wood,  with  the  latter  amplifying  them  like 
a  sounding  board.  Shear-type  rubber  instrument  mount- 
ings (such  as  those  vended  by  the  Lord  Manufacturing 
Company,  but  often  available  through  war  surplus  stores) 
are  excellent  for  this  purpose. 

THE  WIRING  CIRCUITS 

The  electrical  wiring  of  the  author's  turntables  actually 
involves  three  separate  and  unrelated  circuits,  as  illus- 
trated in  Fig.  3.  The  electronic  or  sound  circuit,  shown 
at  the  top  of  the  figure,  permits  mixing  or  blending  the 
sound  from  the  two  pickups.  This  is  useful  not  only  in 
achieving  smooth  musical  changeovers,  but  opens  a  new 
avenue  of  sound  possibilities;  if  you  purchase  a  library 
of  sound  effect  records,  these  can  be  blended  with  back- 
ground music,  or  with  each  other,  thus  adding  to  the 
realism  of  your  movies. 

The  110  volt  circuits  are  shown  in  the  lower  portion  of 
Fig.  3.  Frankly,  the  switches  controlling  the  projector  and 
house  lights  were  added  to  my  rig  as  an  afterthought, 
when  I  found  that  both  my  hands  were  well  occupied 
synchronizing  and  changing  records,  with  little  time  left 
over  for  the  normal  projection  duties.  Placing  these 
switches  within  finger  reach  made  for  a  much  smoother 
performance. 


1  17 


1/MEG-OHM     RESISTORS, 


O   PHONO 
JACK 


1^  MEG- OHM     POTENTIOMETERS 


FIG.  1:  Diagram  above  shows  how  a  pair  of  pickups  should  be 
mounted  so  that  each  plays  on  both  turntables  or  both  on  one. 


=0 


©I 

PROJECTOR 
PLUG 


PHONO 
MOTORS 


=0 


HOUSE 
LIGHTS 


S.PS.T     SWITCHES 


FIG.  3:   Wiring    circuits   of   author's  turntables   are  plotted    above.    Upper   dia- 
gram shows  sound   circuit,  the  lower  the  hookup  of  motors,   lights,   projector. 


FIG.  2:   Pickup   pivot   points   are   found    by   describing   compass 
arcs    from    table    centers.    Intersections    mark    mounting    points. 

PROJECTOR  CONTROLS 
Plugging  your  house  lights  into  the  outlet  provided  will, 
of  course,  be  obvious:  but  your  projector  will  have  to  be 
modified  slightly  to  be  controlled  by  the  switches  located 
on  the  turntables.  For  the  outlet  and  plug  to  attach  the 
projector  control  circuit.  I  used  the  conventional  3  prong 
electrical  convenience  fittings  normally  employed  for 
electric  stoves.  I  first  drilled  a  V±  inch  hole  in  the  base 
of  my  projector  to  admit  the  rubber-covered  3-wire  cord: 
the  common  "hot"  wire,  going  to  both  the  projector  mo- 
tor and  lamp  switches,  was  located  and  one  lead  of  the 
cable  was  attached  at  this  point.  The  other  two  cable 
leads  are  soldered,  respectively,  to  the  other  (motor  and 
lamp)  sides  of  the  projector  switches.  This  arrangement 
puts  the  projector  control  switches  located  on  the  turn- 
tables in  series  with  the  switches  on  the  projector,  so 
that  either  set  of  switches  will  operate  the  machine.  Thus. 
you  can  still  use  the  projector  without  the  turntables. 

THE  RADIO  HOOKUP 

[Hooking  up  your  turntables  to  play  through  the  radio 
is  not  difficult.  If  your  radio  is  equipped  with  a  jack  to 
receive  a  phonograph  plug,  your  problem  will  be  some- 
what simplified;  but  a  radio  serviceman  can  easily  install 
such  a  jack  if  your  set  lacks  one,  or  perhaps  a  "ham" 
friend  of  yours  can  show  you  where  to  tap  into  the  first 
amplifier  stage. 

If  you  have  a  combination  phono-radio,  it  is  a  very 
easy  matter  to  locate  where  the  leads  from  the  phono- 
graph pickup  are  hooked  into  the  chassis  and  to  wire  a 
jack  in  parallel.  But,  if  you  do  so,  you  must  prevent  the 
phonograph  from  cutting  out  your  turntables  by  any  of 
the  following  methods:  (1)  putting  a  switch  in  series 
with  the  phonograph  pickup:  (2)  splicing  a  x/2  meg-ohm 
resistor  in  series  with  same;    (3)   cutting  the  phonograph 


leads  loose  and  attaching  a  plug  to  their  ends,  so  that 
either  the  phonograph  or  the  turntables  may  be  plugged 
in.  or  (4)   obtaining  a  special  "make-one-and-break-one" 
jack  which  will  automatically  disconnect  the  phonograph 
when  your  dual  turntables  are  plugged  in. 

With  the  amplifier  and  speaker  end  of  your  sound  sys- 
tem thus  prepared,  it  is  a  relatively  simple  matter  to  hook 
it  up  to  the  turntables.  For  this  purpose  you  will  want  a 
length  of  inexpensive  shielded  phono-pickup  cable,  a  little 
longer  than  the  maximum  throw  from  your  projector  to 
screen.  This  thin  cable  is  surrounded  by  a  knitted  copper 
sheath  (  which  forms  one  side — the  grounded  side — of  the 
circuit )  which  is  useful  in  preventing  stray  interference 
(such  as  the  '"buzz"  from  a  fluorescent  lamp)  from  being 
picked  up  and  amplified  through  your  sound  system. 

Attach  a  plug  to  each  end  of  this  cable,  one  to  fit  the 
jack  on  the  radio  and  the  other  the  turntable  jack.  Wind- 
ing the  cable  around  a  small  projection  reel,  of  the  type 
on  which  film  is  returned  from  processing,  will  prevent 
tangling  and  facilitate  setting  up  your  equipment. 

SAVINGS  ARE  SIMPLE 

Now  for  a  few  economy  hints.  I  began  by  picking  up 
two  turntables  with  motors  included  at  SI. 50  each.  These 
were  purchased  from  a  "surplus"  house  and  were  actually 
factory  rejects  which  did  not  run  at  the  prescribed  78 
revolutions  per  minute.  With  the  aid  of  a  fifteen  cent 
stroboscopic  disc  and  a  neon  lamp,  it  was  determined 
that  one  of  the  turntables  operated  about  72  r.p.m.  and 
the  other  at  about  84  r.p.m. 

The  fast  table  was  slowed  by  correcting  the  gear  ratio 
of  the  friction  driving  gears.  This  was  done  easily  by  re- 
ducing the  diameter  of  the  motor  shaft's  metal  driving 
spindle  which  turns  the  rubber-tired  idler,  which,  in  turn, 
drives  the  rim  of  the  turntable.  The  simplest  method  of 
accomplishing  this  was  to  run  the  motor  with  the  turn- 
table removed,  holding  a  piece  of  coarse  emery  cloth 
against  the  driving  spindle. 

The  slow  table  was  brought  up  to  speed  by  thoroughly 
lubricating    all    working    parts     [Continued  on  page  131] 


118 


NEW    ZEALAND    REPORTING! 

Short  of  cameras  and  still  shorter  of  film,  New  Zealand's  amateurs 

are  still  active,  enthusiastic — and  full  of  hope  for  the  future 

IAN     POLLARD,     ACL,     Otago  Cine  Photographic  Club,  Dunedin 


AMATEUR  filming  in  New  Zealand  is  regarded  by 
many  non-filmers  as  a  luxury,  only  to  be  indulged 
in  by  those  with  large  incomes.  This  impression 
has  been  created  by  the  greatly  increased  prices  of  ap- 
paratus and  film,  caused. mainly  by  the  distance  which 
New  Zealand  is  from  the  chief  movie  manufacturing 
countries — England  and  the  United  States.  For,  the 
greater  the  distance,  the  proportionately  higher  are  the 
transportation  costs. 

EQUIPMENT  STILL  SCARCE 

Also,  during  the  war,  there  was  no  cine  equipment 
and  precious  little  film  available,  so  that  ACL  members 
will  realize  that  nearly  all  filmers  in  New  Zealand  today 
are  using  prewar  cameras.  Within  recent  months,  a  few 
English-made  machines  have  appeared  on  the  market, 
but  they  were  soon  snapped  up  at  a  sum  greatly  in  excess 
of  the  list  price.  My  own  camera,  for  example,  cost  me 
just  over  four  times  the  price  the  original  owner  paid. 

Exposure  meters  of  an  infinite  variety  have  been  avail- 
able for  some  time,  ranging  from  the  Weston  Master  II 
cine  meter,  down  to  the  smaller  extinction  types.  Most 
movie  makers  here  own  a  meter  and  make  good  use  of  it: 
but  a  curious  fact  is  that  the  manufacturers'  given  film 
speeds  have  to  be  halved  for  the  Weston  instrument; 
Daylight  Kodachrome,  for  instance,  runs  at  Weston  4. 
One  explanation  is  that  the  raw  film  loses  speed  during 
its  journey  through  the  tropics  to  New  Zealand,  even 
though  it  is  tropically  packed.  If  any  ACL  member  can 
suggest  a  solution,  no  doubt  the   editor  will  publish  it. 

Eighty  percent  of  filmers  in  New  Zealand  do  not  possess 
a  tripod,  and  of  those  who  do,  perhaps  only  a  quarter 
of  them  use  it  consistently.  One  movie  maker  (guess 
who?)  bought  a  tripod  three  years  ago,  when  he  first 
acquired  a  camera,  and  he  has  used  it  to  shoot  about 
two  reels  of  film.  For  some  users,  tripods  are  regarded 
as  a  nuisance.  With  others,  because  of  the  comparatively 
few  movie  cameras  seen,  the  owner  feels  that  enough 
attention  is  attracted  by  the  camera,  let  alone  the  tripod. 

PRICES  ARE  HIGH 
Nearly  all  camera  owners  here  were  able  to  purchase 
a  new  projector  some  time  ago  when,  before  the  dollar 
shortage.  American-made  models  were  readily  available. 
To  compare  prices:  my  projector  was  advertised  at 
$75.00,  but  cost  me  42  New  Zealand  pounds — or,  at  the 
then  rate  of  exchange,  about  $250.00!  A  reel  of  film 
costing  $6.50  costs  £4.15.0  in  New  Zealand — or,  at  the 
current  exchange  rate,  $14.00.  English  projectors  are 
now  finding  their  way  to  the  market  and  they  give  a  good 
and  reliable  service;  but  nearly  all  makes  use  a  compara- 
tively low  powered  lamp.  As  the  line  current  is  rated  at 
230 — 240  volts,  a  cumbersome  and  heavy  transformer 
must  be  used,  if  the  projector  has  no  built-in  resistance. 

FILM    SUPPLIES:    ONE    ROLL    SEMI-ANNUALLY 
Supplies  of  film  have  been  so  scarce  that  it  is  a  day  of 
rejoicing  when  a  reel  of  color  film,  particularly  8mm., 


is  available.  I  have  not  once  seen  a  reel  of  Type  A  Koda- 
chrome in  the  8mm.  size;  and,  to  put  an  end  to  the 
matter,  no  conversion  filters  have  been  sold  in  the  shops 
for  many  years.  In  the  six  months  just  past  I  have  bought 
one  reel  of  color  film,  in  spite  of  a  biweekly  visit  to  the 
local  dealer.  This  was  my  allocation  from  a  small  ship- 
ment of  French-made  Kodachrome.  This  reel,  along  with 
two  reels  of  English-made  color  film  sent  by  a  generous 
friend  in  England,  is  being  carefully  hoarded  for  my 
holiday.  It  is  interesting  to  note  that  English  color  film, 
processed  in  Melbourne,  Australia,  gives  a  delightful  pastel 
rendition,  while  U.  S.  stocks  give  a  crisp  sparkling  image. 
What  the  French  film  is  like  remains  to  be  seen.  We  con- 
sider ourselves  fortunate  if  color 
film  is  returned  from  being  proc- 
essed in  less  than  five  to  six  weeks. 
Monochrome  film  is  processed  in 
Wellington,  with  a  really  fast  serv- 
ice of  seven  or  eight  days. 

Very  few  filmers  here  add  sound 
to  their  films  either  on  disc,  tape 
or  wire.  Once  again  the  cost  is  the  prohibiting  factor. 
The  most  common  way  is  to  play  records  through  a  radio- 
gramaphone  and  hope  that  they  suit  the  film  as  to  mood, 
timing  and  tempo. 

NATURAL  SETTINGS  ATTRACTIVE 
But  enough  of  the  "case  against."  New  Zealand  is 
fortunate  in  having  compressed  into  its  small  area  every 
tourist  attraction  that  is  to  be  found  in  any  other  part 
of  the  world.  From  Dunedin,  it  is  a  short  three  hour 
flight  over  the  Southern  Alps  to  the  Fox  and  Franz  Joseph 
Glaciers  on  the  west  coast  of  the  South  Island,  a  two 
hour  flight  to  the  majestic  Milford  Sound  on  the  south- 
west coast,  or  a  six  hour  flight  to  Rotorua,  the  thermal 
wonderland  of  this  country.  Here,  geysers,  boiling  water- 
falls and  boiling  mud  pools  of  every  color  may  be  found 
in  abundance. 

The  atmosphere  in  New  Zealand  helps  the  movie  maker, 
particularly  in  Central  Otago,  which  is  renowned  for  its 
clear,  dry  air.  As  a  result,  exceptionally  good  definition 
can  be  obtained,  even  with  8mm.  film.  Perhaps  the  chief 
favorable  factor  is  the  absence  here  of  any  really  large 
manufacturing  cities  which  spread  their  soot  and  grime 
for  many  miles. 

PERSONAL  FILMS  PREFERENCE 
The  choice  of  subject  matter  is  no  different  in  New 
Zealand  than  in  other  countries.  Family  films,  news  events, 
vacation-scenic  films  and  documentary  records  are,  in 
that  order,  the  most  popular.  And  I  venture  that  if  a 
census  were  taken  in,  say,  ten  other  countries,  the  result 
would  be  much  the  same.  My  own  holiday  films  do  not 
show  the  popular  resorts,  as  I  like  to  climb  and  explore 
in  the  unmapped  and  unknown  southwest  corner  of  the 
South  Island.  My  movie  camera  has  its  allotted  position 
in  my  pack,  and  my  ice  axe  makes  a  very  useful  stand 
when  filming  at  a  high  altitude.     [Continued  on  page  129] 


119 


The  Fine  Frames  pictured  on  this  page  are  reproduced 
directly  from  the  movies  of  our  readers 


FINE  FOREGROUND  graces  a  long 
shot  from  Letter  from  Florida,  by 
E.   G.    Dittmer,   from    Lincoln,    Neb. 


A  BRISK  ANGLE  brightens  this 
churchly  closeup  from  Le  Miracle 
de  Sainte  Anne,  by  George  H. 
Kirstein,   of  The   Bronx,   N.   Y.   C. 


CORNER  TO  CORNER  is  the 
pleasant  pattern  of  this  closeup 
by  Bert  Seckendorf,  ACL,  of 
Brooklyn,  for  his  film  Memory 
Lane. 


A  REFLECTOR  lightened  shadows 
in  this  closeup  for  Maid  to  Order, 
shot  by  Leo  Caloia,  of  Los  Angeles. 


EVERY  READER  of  Movie  Makers  is  cordially  invited  to  submit 
selected  frames  for  reproduction  here.  For  those  accepted,  Movie  Makers 
will  present  each  producer  with  a  complimentary  copy  of  "his"  issue  and 
the  enlarged  negative  from  which  his  frame  is   printed. 

SUBMISSIONS  may  be  made  on  either  8mm.  or  16mm.  film,  in  strips 
of  10  frames  or  more  of  Eight,  5  frames  or  more  of  Sixteen.  Please  accom- 
pany each  entry  with  your  name  and  the  name  of  the  picture  from  which  it 
comes.  For  best  results,  readers  are  advised  to  concentrate  on  relatively 
close  shots  with  a  medium  range  of  contrast. 

ADDRESS  YOUR  ENTRIES  to  Fine  Frames  Page,  Movie  Makers, 
420  Lexington  Avenue,  New  York  17,  N.  Y. 


CAMERA  POSITION  creates  per- 
spective in  this  shot  from  Plymouth, 
by  Oscar  Horovitz,  ACL,  of  Boston. 


SEMI-SILHOUETTE  suggests  menace 
in  this  well  lighted  two-shot  cre- 
ated for  The  Voice  of  the  Key,  by 
C.  J.  Carbonaro,  FACL,  of  Norfolk. 


120 


SEQUENCING 
SEQUO! 


FELIX    ZELENKA 

LESS  than  a  century  ago.  Hale  Tharp,  as  a  reward  for 
his  friendship,  was  led  by  Indians  into  what  is  now 
Sequoia  National  Park — there  to  behold  one  of  the 
great  natural  wonders  of  all  time.  Today,  this  treasure 
chest  of  arboreal  splendor  has  been  made  easily  acces- 
sible to  the  world  at  large.  Adjoining  one  another,  Se- 
quoia National  Park  and  Kings  Canyon  National  Park, 
often  called  The  Twins,  contain  1300  square  miles  of 
primeval  magnificence,  set  aside  by  the  Park  Service  and 
administered  as  one  unit. 

FIRST  TO  SEQUOIA 

Railroads,  stage  services  and  United  Air  Lines  are 
routed  to  both  parks,  from  Los  Angeles  or  San  Francisco. 
The  year-round  beauty  that  borders  the  Generals  High- 
way, the  area  s  main  artery,  is,  of  course,  most  enjoyable 
when  motoring  in  your  own  car.  Only  thus  will  the  movie 
maker  find  the  opportunity  to  halt  his  upward  journey 
at  points  of  interest  for  filming  at  his  own  convenience. 

Entering  the  park  at  Ash  Mountain  gate,  the  Indian- 
head  sign,  representing  Chief  Sequoyan,  makes  a  pic- 
turesque main  title  background  for  your  filming  adven- 
tures to  follow.  A  short  distance  beyond  this  boundary 
marker  is  a  ranger  checking  station.  Here  a  dollar  entry 
fee  is  paid  and  you  might  film  the  ceremony  as  an  intro- 
duction to  your  reel. 

Two  and  a  half  miles  later  is  Tunnel  Rock,  a  huge  slab 
of  granite  that  forms  a  bridge  over  the  road.  The  filmer 
should  not  overlook  the  possibilities  of  a  scene  or  two 
here  as  the  car  travels  through  this  arch. 


THE  KINGS  RIVER,  a  torrent  of  white  water  tumbling  through   a 
rocky  gorge  of   Kings  Canyon   Park,   is  flanked   by  the   highway. 


TAME  BUT  TOUCHY,  says  the  author,  are  the  mule  deer  wander- 
ing  through   Giant  Forest  Village   in   search   of  a  daily   handout. 

HOSPITAL  ROCK  CAMP 
Some  three  miles  later  is  scenic  Hospital  Rock.  Here 
a  public  campground  and  another  ranger  station  are  lo- 
cated. The  white  water  of  the  middle  fork  of  the  Kaweah 
River  rushes  past  this  favorite  retreat  of  the  fishing 
sportsman,  where  once  a  large  Indian  village  was  lo- 
cated. Of  interest  is  the  huge  boulder  used  as  a  house  by 
Chief  Chappo  of  the  Kaweah  tribe  of  Yokut  Indians.  In 
later  years,  as  a  shelter  for  injured  pioneers,  this  char- 
coal-blackened refuge  became  known  as  Hospital  Rock.  A 
footpath  to  the  river  and  bridge  affords  many  attractive 
picture  possibilities. 

GIANT  FOREST  VILLAGE 

Approximately  fourteen  miles  from  the  Indian-head 
marker  you  arrive  at  the  western  extremity  of  the  Se- 
quoia belt  of  big  trees.  Two  and  a  half  miles  later,  at  an 
elevation  of  6,412  feet  above  sea  level,  is  the  Giant  For- 
est Village.  Located  here  are  a  ranger  information  sta- 
tion, a  service  station,  coffee  shop,  store,  cabins  and 
housekeeping  cottages  at  Camp  Kaweah.  During  the  busy 
season  of  the  summer  months  reservations  should  be 
made  in  advance  to  avoid  possible  disappointment.  Less 
than  a  mile  straight  ahead  is  the  Giant  Forest  Lodge  with 
American  and  European  plan  accommodations  in  cabins 
or  tent  bungalows. 

WHAT  TO  FILM 

Perhaps  one  of  the  most  appealing  sequences  of  your 
Sequoia  shooting  will  be  on  feeding  the  tame  mule  deer 
which  wander  throughout  the  camp.  Though  these  ani- 
mals are  generally  considered  meek  and  shy,  the  older 
bucks,  who  make  a  daily  habit  of  begging  for  a  handout, 
can  be  surprisingly  nasty  when  annoyed.  Avoid  teasing  or 
molesting  them  in  any  way,  and  they  will  supply  you 
with  an  abundance  of  exciting  footage. 

Shelled  peanuts  are  an  attractive  delicacy  for  the 
bushy,  brown-striped  chipmunk  and  the  gray  squirrel. 
With  patience  and  a  supply  of  this  tasty  delight,  it  is  a 
simple  matter  to  obtain  scenes  of  these  nervous  creatures 
daintily  feeding  out  of  your  hand. 

Home  of  the  Big  Trees,  oldest  of  Earth's 
living  things,  Sequoia  National  Park 
is  a  challenge  to  every  cameraman 


121 


MORO   ROCK   AND   CRESCENT  MEADOW 

The  Moro  Rock  and  Crescent  Meadow  road  is  an  easily 
traveled  route  with  no  steep  grades.  Winding  through 
the  heart  of  the  Sequoia  belt,  it  ends  at  the  parking  area 
near  the  Crescent  Meadow. 

Less  than  a  mile  from  Giant  Forest  Village  the  road 
passes  Auto  Log.  a  huge  fallen  monarch  so  large  that  an 
auto  may  drive  onto  it.  At  Hanging  Rock,  about  two 
miles  from  the  village,  a  trail  leads  200  yards  from  the 
road  to  a  boulder  poised  precipitously  on  the  edge  of  a 
1000  foot  drop.  This  is  Moro  Rock,  one  of  the  great 
monoliths  of  the  Sierra  Nevada. 

The  quarter  mile  climb  to  its  summit  is  recommended 
for  a  score  of  dramatic  compositions.  Steps  and  a  trail 
cut  into  the  very  granite  of  Moro  rise  300  feet  to  the  top 
at  an  elevation  of  6,719  feet.  Several  benches  along  the 
walk  offer  excellent  views  while  you  catch  your  breath. 

Tunnel  Log,  two  and  a  half  miles  from  the  village,  is 
a  giant  Sequoia,  275  feet  long,  that  fell  across  the  road  in 
1937.  A  tunnel  eight  feet  high  and  seventeen  feet  wide 
has  been  cut  into  the  log  so  that  the  road  continues  be- 
neath it.  Film  a  sequence  as  one  of  your  party  stands 
atop  the  giant  log  and  your  car  passes  through.  Trails 
from  Crescent  Meadow  lead  to  Tharp's  Log  where  once 
this  pioneer  made  his  home  in  a  fire-hollowed  and  fallen 
big  tree.  Still  another  trail  joins  Crescent  Meadow  with 
the  start  of  the  High  Sierra  trail  to  Hamilton  Lake  and 
Mount  Whitney,  a  saddle  trip  of  great  beauty. 


GIANT  FOREST  VlttAGE,   hub  of  activity  in  Sequoia   National   Park,  is 
fourteen    miles  from    Indian-head    sign    (up    left)   at  Ash   Mountain    Gate. 


THE  GENERAL  SHERMAN  TREE 
Following  the  Generals  Highway  again,  at  a  distance 
of  about  two  miles  from  the  village  is  the  General  Sher- 
man   Tree,    largest    of    the    Se-      [Continued  on  page  131] 


THE  TUNNEL  LOG,  a  fallen  275  foot  giant,  straddles  the  park  highway 
to    create    an    interesting    sequence    of    your    car    driving    through    arch. 


AN    ANCIENT   ACCIDENT    left   Tunnel    Rock    spanning    Sequoia's 
highway  like  a  modern  sculpture.  The  site  is  IVi  miles  from  gate. 


HUMBLED  BY  HISTORY,  the  Fallen  Monarch  in  General  Grant  Grove  has 
been   a   timberman's   cabin,   a   saloon   and   a   stable  for   U.   S.   cavalry. 


APRIL   1951 


Talking 

about 

Movies 


It's  the  Camera  that 
makes  the  difference 

in  your  8mm  films! 

• 

The  same  film,  filters,  types  of 
lenses,  lighting  techniques,   etc. 
used  by  16mm  fans,  are  available  to 
you.  And  for  the  main  item  in  any 
movie-maker's  kit  .  .  .  the  camera 
.  .  .  try  any  one  of  these  fine  8mm 
Bell  &  Howell  Cameras.  You'll  find 
them  full-fledged  brothers  of  the 
famous  Bell  &  Howell  "16's"! 


For  instance,  take  the  Sportster .  .  . 

...  it  has  an  extra  fine  Filmocoted  x/2-inch 
f/2.5  lens.  The  rotary  disc  shutter  gives  max- 
imum, and  uniform  exposure.  Five  speeds  are 
governor  controlled  for  entire  length  of  film 
run.  Has  built-in  exposure  guide,  accurate 
film  footage  indicator,  quick-change  lens 
mount  and  simple  "drop-in"  film  loading.  Yes, 
it's  every  inch  a  Bell  &  Howell  for  $109.95. 


Or  the  easy-to-use  172-B  .  .  . 

.  .  .  features  convenient  magazine  loading.  It 
also  has  5  operating  speeds  (including  true 
slow  motion),  positive  type  viewfmder,  single 
frame  release,  exposure  guide,  film  footage 
indicator.  That's  a  real  camera !  With  Vk-inch 
f/2.5  Filmocoted  lens,  $139.95. 


:i 


But  the  man  who  owns  the  Auto- 8  .  .  . 

. . .  has  all  the  advantages  of  the  172-B  camera, 
plus  the  versatility  offered  by  instant  lens 
change.  The  quick-turn  2-lens  turret  has  lens- 
matching  positive  type  viewfinders  and  a 
critical  focuser.  With  this  camera  there's  no 
excuse  for  anything  "getting  away" .  .  .  with 
right  lenses  you're  ready  for  anything.  With 
y2-inch  f/2.5  Filmocoted  lens  only,  $169.95. 


And  for  even  greater  versatility 
the  Tri-Lens  Eight .  .  . 

. . .  gives  you  a  choice  of  three  lenses  instantly 
available.  The  Tri-Lens  Eight  has  the  same 
advantages  offered  by   the  Sportster  plus: 
•  Three-lens  turret  accommodating  lens- 
matching  viewfinders 
•  Critical  focuser 

Price  .  .  .  you'll  be  surprised!  With  y2-inch 
f/2.5  Filmocoted  lens  only,  $149.95. 


A  word  about  8mm  lenses 


0.5-inch  f/1 .4  Taylor  Hobson  Cooke 

$144.95 


1  -inch  f/1 .9  B&H  Super  Comat  $89.95 


1 .5-inch  f/3.5  Comat  $64.95 

Three-power  magnification  for  medium  dis- 
tance shots. 


.  .  .  they  can  make  or  break  your  films 

For  it's  not  just  enough  that  the  lens  passes 
a  certain  amount  of  light  to  the  film.  The 
quality  of  that  light  is  important.  The  lens 
must  transmit  the  image  clearly  and  keep 
it  clear  right  to  the  edges  of  the  film.  When 
a  lens  does  that,  you  notice  the  result  on 
the  screen.  You  get  the  color  contrasts  the 
way  they  were,  your  pictures  are  bright 
and  clearly  defined  on  every  part  of  the 
screen!  Bell  &  Howell  lenses  are  designed 
to  do  this  for  your  movies ! 

Prices  subject  to  change  witliout  notice 


Guaranteed  for  life. 

During  life  of  the 
product,  any  defects 
in  workmanship  or 
material  will  be  rem- 
edied free  (except 
transportation). 


uy  for  life 
n  you  buy 


Bella  Howell 


MORE   ABOUT    LENSES 

(tear  out  and  send  today) 
Bell  &  Howell  Company 
7143  McCormick  Road,  Chicago  45 

Please  send  me  your  free  "tips"  booklet  on 
selection  and  use  of  lenses. 

Name __. 


Addr 


City 


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Zone State- 


124 


Clini 


LINE   VOLTAGE    LOSS 

Here's  another  tip  to  add  to  my 
February  item  on  using  relatively 
new  flood  bulbs  to  be  sure  of  accurate 
color   values   during   indoor   filming. 

Another  source  of  color  tempera- 
ture trouble  may  be  a  drop  in  line 
voltage,  which  will  be  especially,  no- 
ticeable if  your  lamp  line  is  plugged 
into  a  house  circuit  on  which  other 
of  your  electrical  facilities  are  draw- 
ing. Therefore,  for  those  filmers 
blessed  with  an  electric  stove,  I  sug- 
gest plugging  the  main  lamp  line  into 
the  service  outlet  socket  on  the  stove. 
Connected  to  your  fuse  box  with  spe- 
cial heavy  wire,  this  circuit  offers  a 
minimum   of  voltage  loss. 

Herbert  A.  MacDonough,  ACL 
Binghamton,  N.  Y. 

Could  be;  but  our  impression  is  that 
the  major  advantage  of  this  arrangement 
would  be  a  marked  increase  in  the  number 
of  flood  lamps  which  could  be  carried 
safely  on  the  one  outlet. 

With  the  standard  wall  outlet  (fused  at 
15  amperes),  the  safe  limits  are  4  of  the 
375  watt  medium  beam  lamps  or  3  of  the 
No.  2  photofloods.  Plugging  through  the 
heavy  line  of  the  stove  (which  is  fused 
at  from  30  to  40  amps.)  would  raise  these 
safe  limits  to  at  least  9  of  the  375's  or 
7  of  the  No.  2's. 

As  for  changes  in  color  temperature 
created  by  line  voltage  drops,  Eastman 
Kodak  states  in  their  booklet,  Filter  Data 
for  Kodak  Color  Films,  as  follows:  "The 
color  temperature  of  a  tungsten  filament 
lamp  designed  for  operation  at  115  volts 
increases  (changes)  about  10°  K  for  each 
increase  (or  decrease)  of  1  volt.  Variations 
of  less  than  100°  K  ordinarily  do  not  pro- 
duce a  serious  change  in  color  rendering." 

45    RPM    DUAL    TURNTABLES 

I  thought  some  of  our  readers 
might  be  interested  in  a  double  turn- 
table outfit  I  have  assembled  for 
playing  45  rpm  records.  It  consists  of 
two  of  the  standard  RCA-Victor  au- 
tomatic    record     changers      ($12.95 


i 


each)  set  in  a  fibre  case  and  con- 
nected in  the  usual  manner  through 
individual  volume  controls.  However, 
plug  receptacles  are  provided  so  that 
the  record  players  may  be  removed 
at   any   time   for   other   uses. 

These  record  changers  are  handy 
inasmuch  as  the  program  can  be  lined 
up  ahead  of  time  and  successive  rec- 
ords played  on  the  turntable  merely 
by  pressing  the  release  button. 

Lester  F.  Shaal,  ACL 
Providence,  R.  I. 

AMONG  THE  USEFUL  camera  ac- 
cessories, a  tripod  and  exposure  meter  will 
be  found  near  the  top  of  the  lists  of  most 
serious  amateurs. 

SHUTTER    SPEEDS    VARY 

Mr.  Roland  Beach,  of  Rochester. 
N.  Y.,  had  a  very  interesting  sugges- 
tion in  The  Clinic  for  February  con- 
cerning the  use  of  a  continuous  shut- 
ter speed  adjustment  (instead  of  dia- 
phragm changes)    in  filming  sunsets. 

While,  as  he  says,  the  Bolex  H  cam- 
eras have  this  valuable  feature  of  con- 
tinuous shutter  speed  adjustment,  be- 
fore we  use  this  arrangement  for  in- 
creasing or  decreasing  exposure  we 
must  decide  whether  the  camera  is  to 
be  used  in  normal  continuous  run  or 
at  single  frame.  The  reason  for  this 
is  that  the  shutter  speeds  obtained  in 
the  two  operations  are  different,  as 
will  be  seen  in  the  following  table: 


H-8   and    H-16   SHUTTER   SPEEDS 
in  CONTINUOUS-RUN  MOVIES 

1/20   second 
1/30 
1  /45 
1/60 
1/120      " 

at   a    speed    of      8   fps 

"    "        "         "     16    " 
"    "        "         "    24    " 
"    "       "        "    32    " 
"    "       "        "    64    " 

TWIN   RCA   45's,   hooked  up  in  a   single  case, 
create    dual    turntables    for    your    LP    records. 


However,  for  pictures  shot  using 
the  single  frame  device,  the  exposure 
times  cannot  be  estimated  according 
to  this  table.  For  the  H-16  camera 
and  with  the  continuous-run  speed 
dial  set  at  8  fps,  the  actual  exposure 
will  be  1/20  of  a  second.  With  the 
speed  dial  set  at  all  other  continuous 
speeds,  the  single  frame  exposure 
time  will  be  1/25  of  a  second.  For  the 
H-8  camera,  under  exactly  similar 
conditions,  these  single  frame  ex- 
posures become  1/18  and  1/20  of  a 
second. 

While  changing  the  shutter  speed 
to  change  the  exposure  is  all  right 
when  the  camera  is  used  in  continu- 


ous run,  the  same  effect  in  making 
single  frame  exposures  can  be  ob- 
tained only  by  changing  the  dia- 
phragm of  the  lens. 

Ernst  Wildi,  ACL 
Manager 
Technical   Department 
Paillard   Products,   Inc. 
New  York  City 

LONG   LIFE   LAMPS 

In  connection  with  your  February 
Clinic  item  called  New  Lamps,  Best 
Color,  about  three  years  ago  I  began 
to  be  concerned  over  the  expense  and 
inconvenience  of  the  standard  photo- 
flood  bulbs  "blackening  out"  so 
quickly. 

As  an  experiment  I  purchased  two 
500  watt  3200°  Kelvin  tungsten  bulbs 
manufactured  by  General  Electric 
primarily  for  professional  color  pho- 
tography. I  have  used  these  same  two 
bulbs  continuously  since  then,  with 
no  apparent  drop  in  their  color  tem- 
perature nor  loss  in  brilliance. 
Further,  I  never  could  see  any  dif- 
ference in  their  color  rendition  and 
that  created  by  the  photofloods. 

Homer  E.  Carrico,  ACL 
Dallas,  Texas 

The  GE  lamp  referred  to  by  member 
Carrico  is  the  PS-25  in  the  3200°  K  line; 
designed  for  use  on  a  115  volt  circuit,  it 
has  the  standard  medium  screw  base  and  a 
rated  life  of  60  hours.  The  approximate  list 
price  is  $.70  each  without  tax. 

However,  as  its  name  indicates,  the  lamp 
gives  off  light  rated  at  3200°  Kelvin  in  the 
color  temperature  scale.  As  such,  it  is 
ideally  suitable  (for  use  without  a  filter) 
only  with  such  emulsions  as  16mm.  Ansco 
Color  Tungsten  Type,  16mm.  Kodachrome 
Type  B  (for  professional  use  only),  and 
Kodak's  Ektachrome  Type  B  sheet  film. 

Used  with  Kodachrome  Type  A  film — 
which  is  color  balanced  at  approximately 
3400°  K  to  suit  photoflood  light— the  3200° 
K  lamp  will  produce  accurate  color  only 
with  a  Wratten  82-A  filter  on  the  lens. 
Ansco  Color  Tungsten  Type,  on  the  other 
hand,  when  used  under  the  3400°  K  light 
of  photofloods,  is  at  its  best  with  Ansco's 
UV-15  filter. 


CONTRIBUTORS  TO 

The  Clinic  are  paid  from  $2.00  to  $5.00 
for  ideas  and  illustrations  published. 

Your  contributions  are  cordially  in- 
vited. Address  them  to:  The  Clinic, 
Movie  Makers,  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


Please    do    not    submit    identical    items    to 
other   magazines. 


125 


TALKING    OF    THE    TEN    BEST 

In  which  three  points  of  importance  in  the  contest's  judging  are  discussed  and  analyzed 

JAMES    W.    MOORE,    ACL 


"^NTD   you   know,"   our   visitor   remarked,   "that  the 

\m  League  is  being  charged  around  the  clubs  with 
favoring  record  films  over  those  with  a  story? 
In  the  Ten  Best  contest,  that  is." 

We  didn't  know  it,  and  the  report  surprised  and  a 
little  shocked  us.  Our  visitor  had  been  a  member  and 
friend  of  ACL  for  years.  He  was  a  good  movie  maker, 
especially  of  story  films,  and  an  active  member  of  two 
strong  movie  clubs  in  New  York  City.  So  we  had  con- 
fidence in  his  judgment.  We  knew  he  would  not  pass  on 
such  a  report  unless  he  felt  it  was  important. 

"Do  you  believe  that's  true?"  we  asked  him.  "Do 
you  believe  that  we  favor  record  films  and  hold  story 
films  in  disfavor?" 

"No,"  he  said.  "No,  /  don't.  But  that's  what  some  of 
the  boys  are  saying  around  the  clubs  .  .  .  Maybe  you 
ought  to  do  something  about  it." 

We  thanked  him  and  said  we'd  keep  it  in  mind. 
Perhaps  a  -month  passed  then  before  we  received  the 
letter.  It  came  from  another  member  and  friend  of  the 
League,  also  a  competent  story  filmer  and  also  an  active 
member  of  a  couple  of  movie  clubs.  But  this  time  the 
locale  was  in  the  midwest,  Kansas  City  to  be  exact. 
He  wrote  in  part: 

"Somehow,  recently,  I  got  started  looking  over  your 
Ten  Best  selections  for  the  past  few  years,  and  what  I 
think  I  see  there  worries  me.  After  some  discussion  with 
different  fellows  in  the  clubs,  I  feel  that  somewhere  along 
the  line  you  guys  are  'missing  the  boat'  on  what  consti- 
tutes a  movie.  I'm  afraid  you're  putting  emphasis  on 
record  filming  and  overlooking  creative  efforts  entirely. 

"What  convinces  me  of  this  are  some  of  the  past  win- 
ners you  have  chosen  for  honors,  such  as  a  masterful 
job  of  recording  a  volcano,  a  slow  motion  recording 
gem,  a  single  frame  recording  effort  and  now  a  beautiful 
job  of  extreme  closeups  of  birds  .  .  .  Recording  efforts, 
all  of  them! 

"Maybe  you  are  right  and  I  am  wrong.  But  to  me, 
creative  filming — in  which  I  can  be  made  to  see  and 
feel  sorrow,  happiness,  fear  or  laughter — is  the  true 
medium  for  the  future  of  amateur  movies.  As  far  as  you 
honestly  can,  the  ACL  should  encourage  such  creative 
filming — instead  of  record  films — with  its  Ten  Best 
awards." 

Well!  Here,  in  slightly  different  words,  was  the  same 
charge  concerning  the  Ten  Best  that  we  had  heard  a 
month  earlier.  To  wit:  the  ACL,  in  its  Ten  Best  contest 
awards,  favored  the  record  film  and  held  in  disfavor  a 
story  (or  creative)  film.  We  knew  in  our  hearts  that 
this  wasn't  so;  we  felt  sure  that  the  contest  figures 
would  disprove  the  charge;  and  we  decided  then  and 
there  to  "do  something  about  it."  For,  besides  this 
record-versus-story  controversy,  there  had  been  over  the 
years  a  couple  of  other  misunderstandings  concerning 
the  Ten  Best  contest  judging.  It  seemed  about  time  to 
get  them  all  out  for  an  airing. 

On  the  record-versus-story  problem,  we  felt  sure  that 
there  was  a  very  simple  answer.  So  simple,  in  fact,  that 
it  was  apparently  and  largely  overlooked  in  any  dis- 
cussion of  the  matter.  This  answer  goes  as  follows: 


The  ACL,  in  conducting  the  Ten  Best  contest,  invites 
amateurs  everywhere — domestic  or  overseas,  8mm.  or 
16mm..  members  or  non-members  of  the  League — to 
enter  the  competition.  As  such,  the  contest  film  entries 
should  represent  a  reasonable  cross-section  of  the  sub- 
ject matter  treatment  favored  by  a  majority  of  amateur 
filmers.  If  it  should  happen  that  the  majority  of  amateurs 
favored  the  record  film  treatment,  it  was  then  reasonable 
to  expect  that  the  majority  of  contest  entries  would  be 
of  that  type.  And,  in  turn,  if  the  .majority  of  entries 
were  of  that  type,  it  was  again  reasonable  (not  to  say 
inevitable)  that  the  majority  of  films  honored  would  be 
record  films. 

There  was  the  answer.  But  it  was  an  answer  based 
on  a  supposition  and  arrived  at  through  logic,  a  method 
of  reasoning  which  rarely  convinces  anyone  emotionally 
opposed  to  the  conclusions  drawn.  It  would  be  far  better, 
we  knew,  to  get  down  to  the  facts  and  figures.  These 
things  people  understood  and,  for  the  most  part,  be- 
lieved in. 

And  so  we  got  down  to  the  facts  and  figures,  and  they 
are  presented  herewith.  What  we  did  was  to  take  our 
film  records  (which  are  extensive  and  accurate)  for  the 
past  five  years  of  ACL  activity.  From  these  card  files 
we  first  computed  (by  percentages)  the  ratio  of  record 
films  to  story  films  in  all  of  the  pictures  seen  in  each 
year's  contest.  Referring  then  to  our  annual  contest 
awards,  we  computed  the  same  ratio  among  the  films 
honored.  The  detailed  results  will  be  seen  in  the  table 
on  this  page.  But  it  may  be  instructive  to  highlight  here 
some  of  the  facts  which  these  figures  reveal. 

(1)  As  we  suspected — and  as  anyone  should  suspect 
who  is  experienced  and  informed  concerning  amateur 
movies — by  far  the  majority  of  amateurs  do  make  record 
films.  This  has  been  evident  year  after  year  in  the 
League's  work.  Over  the  five  years  sampled,  for  example, 
the  ratio  of  record  to  story  films  among  all  films  seen 
by  ACL  stands  at  83%  record,  17%  story.  Under  these 
circumstances,  it  is  obviously  inevitable  that,  in  the  Ten 
Best  awards,  more  record  subjects  will  be  honored  than 
will  the  story  type. 

(2)  However,  as  we  also  suspected,  nowhere  near  the 
same  ratio  of  record-to-story  is  maintained  among  the 
films  honored  by  the  ACL.  This  again  is  consistently 
true  year  after  year — and  sometimes  strikingly  so.  The 
average  for  the  five  years  stands  at  62%  record  films 
honored    (as    opposed   to    83%      [Continued  on  page  137] 


ALL   FILMS   SEEN 

FILMS   HONORED 

YEAR 

RECORD 

STORY 

RECORD 

STORY 

1946 
1947 
1948 
1949 
1950 
AVERAGE 

75% 

91 

84 

85 

82 

83 

25% 

9 
16 
15 
18 
17 

68% 

71 

56 

40 

73 

62 

32% 

29 

44 

60 

27 

38 

126 


WILL  THEY  FIT 
MY  CAMERA? 


ROBERT    T.     KREIMAN, 

Manager  Personal  Equipment  Dept.,  Bell  &  Howell 


BROADLY  speaking.  Bell  &  Howell's  answer  to  the  big 
question  at  the  head  of  this  article  is  a  simple  one. 
It  comes  in  two  parts: 
(1)  All  Bell  &  Howell  and  Taylor  Taylor  Hobson 
("Cooke")  lenses  made  for  16mm.  cameras  have  stand- 
ard C  mounts.  This  means  that  they  can  be  used  without 
an  adapter  on  all  16mm.  cameras  save  those  manufac- 
tured by  the  Eastman  Kodak  Company.  They  cannot  be 
adapted  for  use  on  the  Eastman  cameras.  (2)  All  B&H 
and  TTH  8mm.  camera  lenses  are  mounted  for  use  on 
Bell  &  Howell  cameras  only.  They  cannot  be  adapted  for 
use  on  8mm.  cameras  of  any  other  make.  .  .  .  End  of 
answer. 

This,  surely,  simplifies  the  problem  to  its  barest  essen- 
tials— perhaps  too  much  so.  For  there  are  a  number  of 
other  aspects  on  which  the  amateur  should  be  informed 


W^j^.i-. 


MEASURING   from    0.7   of   an    inch    to    4    inches    in   focal    length,   the  five 
lenses    above    offer   T-stop    calibrations    and    uniform    step    magnification. 

in  making  an  intelligent  accessory-lens  selection.  (We 
are  assuming  that  you  already  have  on  your  camera  a. 
lens  of  standard  focal  length;  what  you're  interested  in 
now  is,  say,  the  addition  of  a  wide  angle  or  a  telephotOj. 
or  both.) 

THE  LENSES  AVAILABLE 
To  begin  with,  you  will  want  to  know  what  lenses 
I  what  speeds  and  what  focal  lengths)  there  are  to  choose 
from.  Here  at  Bell  &  Howell  the  choice  is  a  broad  one, 
being  comprised  of  lenses  manufactured  by  our  own 
company  and  those  ground  by  our  well  known  British 
associate  firm,  Taylor  Taylor  Hobson,  makers  of  the 
famous  Cooke  objectives.  Fig.  1  presents  a  table  of  all 
such  lenses,  together  with  the  cameras  on  which  they 
may  be  used. 


B&H  and  TTH  Lenses  for  16mm.  Cameras  —  All  Filmocoted 

Fit  directly,  without  adapters,  on: 

0.7"  f/2.5  B&H  Super  Comat     Foe.  Lit. 
1"   f/2.5  B&H  Comat          Univ.  Foe. 
1"   f/1.9  B&H  Super  Comat     Foe.  Mt. 
1"   f/1.4  TTH  Ivotal         "    » 
2"   f/3.5  B&H  Telate         »    " 
2"   f/3-5  TTH  Kinic          "    » 
2"   f/1.4  TTH  Ivotal         " 
3"   f/4    B&H  Telate         " 
3"   f/4    TTH  Telekinic 
4"   f/4.5  B&H  Telate         "    " 
4"   f/4-5  TTH  Telekinic       "    " 
6"   f/4.5  B&H  Telate         "    » 
6"   f/4.5  TTH  Telekinic       " 

B&H  and  TTH  T-Stop  Calibrated  Lenses  for  16mm.  Cameras 

0.7"  T  2.7  (f/2.5)  B&H  Super  Comat   Foe.  Mt. 
1"   T  2.1  (f/1.9)  B&H  Super  Comat   " 
2"   T  1.6  (f/1.4)  TTH  Ivotal       »    " 
2.8"  T  2.5  (f/2.3)  TTH  Panehrotal    "    " 
3"   T  4.5  (f/4)    TTH  Telekinic     "    » 
4"   T  2.5  (f/2.3)  TTH  Panehrotal    "    " 
4"   T  5.1  (f/4.5)  TTH  Telekinic  .    "    " 

Bell  &  Howell  70-A  (above  Serial  No.  54090) 

Bell  &  Howell  70-D,  E,  G,  J,  DA,  DE,  DL,  S 

Bell  &  Howell  Auto  Load 

Bell  &  Howell  Auto  faster 

Bolex  H-16 

Revere  16 

Revere  26 

Auricon  Pro 

Auricon  Cine  Voice 

Victor:  Model  3  (above  Serial  No.  36885) 
Model  4  (above  Serial  No.  20026) 
Model  5  (above  Serial  No.  52151) 

Grover  G.S.A.P. 

Keystone:  all  16mm.  models 

Morton  Soundmaster 

Pathe  Super  16 

Maurer  05 

Nord  Professional 

B&H  and  TTH  Lenses  for  8mm.  Cameras  —  All  Filmocoted 

Will  fit  the  following  B&H  Cameras: 

0.5"  f/2.5  B&H  Comat          Univ.  Foe. 
0.5"  f/1.9  B&H  Super  Comat     Foe.  Mt. 
0.5"  f/1.4  TTH  Ivotal         "    » 
1"   f/1.9  B&H  Super  Comat     "    " 
1"   T  2.1  B&H  Super  Comat     "    " 
1.5"  f/3.5  B&H  Comat 
1.5"  f/3.5  TTH  Anastigmat      "    " 

Sportster 

Companion 

Tri  Lens  8                             ! 

172  B                                 | 

172  A  (Auto  8) 

2"   f/3.5  B&H  Telate         Foe.  Mt. 
2"   f/3.5  TTH  Kinic          »    » 

Sportster  and  Companion 
Tri  Lens  8 

2"   f/1.4  TTH  Ivotal         Foe*.  Mt. 
2"   T  1.6  TTH  Ivotal         "    » 

Sportster  and  Companion 

FIG.  1:  B&H  and  TTH  Cooke  lenses  for  all  16mm.  cameras  save  Cine-Kodaks  are  listed  in  upper  section.  The  8mm.  camera  lenses  fit  only  on  Filmos. 


127 


Bell  8C  Howell  Company  surveys  the  8  and  16mm.  lenses  offered 

the  amateur  in  their  B&H  and  TTH  formulas 


Third  of  a  series 


FIG.  2:  Here  are  the 
various  B&H  lenses  in 
combinations  on  Filmo 
70-DL  turret  without 
creating  physical  or 
optical       interference. 


LENS  COMBINATIONS  which  can  be  mounted  on  the  B&H  70-DL  turret  head  with- 
out interference  by  the  longer  lenses  with  the  fields  of  the  shorter  lenses. 

Shortest 
lens  on 
turret 

B&H  lenses  which  may  be  used  on  70-DL  turret  with  shorter  lenses  listed 
at  left.  Lenses  in  these  columns  are  to  be  focused  on  infinity  (which 
reduces  their  length  to  the  minimum). 

0.7"  f/2.5 

1"  f/1.9 

2"  f/1.4** 

2"  f/3.5 

2.8"  T  2.5t 

3"  f/4 

4"  f/4.5r 

1"  f/1.9 

2"  f/1.4** 

2"  f/3.5 

2.8"  T  2.5f 

3"  f/4 

4"  f/4. 5 

2"  f/1.4 

2"  f/3.5 

2.8"  T  2.5f 

3"  f/4 

4"  f/4. 5 

2"   f/3.5 

2.8"  T  2.5f 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4- 5* 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

4"  f/4. 5 

6"  f/4. 5 

7  With  sunshade  and/or  filter  removed 

*  Telate  only 

**  With  2.8"   T  2.5  lens   removed 


LENS  COMBINATIONS  which  can  be  mounted  on  the  B&H  Auto  Master  turret  head 
without  interference  by  the  longer  lenses  with  the  fields  of  the  shorter  lenses. 

Shortest  lens 
on  turret 

B&H  lenses  which  may  be  used  on  Auto  Master  turret  with  shorter  lenses 
listed  at  left.   Lenses  in  these  columns  are  to  be  focused  on  infinity 
(which  reduces  their  length  to  the  minimum) . 

0.7"  f/2.5** 

1"  f/1.9** 

2"  f/1.4 

2"  f/3.5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5* 

1"  f/1.9 

2"  f/1.4 

2"  f/3.5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

2"  f/1.4 

2"  f/3.5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

2"  f/3.5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

2.8"  T  2.5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

3"  f/4 

4"  f/4. 5 

6"  f/4. 5 

4"  T  2.5 

May  be  used  with  any  other  one  lens 

4"  f/4. 5 

6"  f/4. 5 

FIG.  3:  Similar  lens 
combination  data  for 
Auto-Master  turret  is 
presented  at  left.  To 
shorten  focal  length, 
set      all      at      infinity. 


*  Sunshade  must  be  removed 

**Place  viewfinder  objective  in  position  farthest  from  2.8"  lens 


THREE  SEPARATE  SERIES 

Although  the  16mm.  camera  lenses  are  listed  in  this 
table  in  order  of  their  focal  lengths,  this  large  assort- 
ment can  be  broken  down  into  three  distinct  series  or 
families  of  lenses. 

The  Bell  &  Howell  I  Comat  and  Telate)  lens  series, 
with  focal  lengths  from  1  to  6  inches,  includes  six  of  the 
finest  domestic  optics  money  can  buy. 

The  Taylor  Taylor  Hobson  Cooke  compact  telephoto 
(Telekinic)  series  combines  the  optical  quality  for  which 
Cooke  lenses  have  long  been  preferred  in  Hollywood  with 
a  compact  design  which  makes  them  highly  adaptable  for 
use  on  turret  cameras.  This  set  of  four  telephoto  lenses 
includes  focal  lengths  from  2  to  6  inches. 

The  already  famous  "New  Family"  of  B&H  and  TTH 
superspeed  lenses,  which  offers  the  highest  degree  of 
correction    in    lenses    of   comparable    focal   lengths    ever 


developed  for  16mm.  filming,  includes  the  .7  inch  //1.5 
B&H  Super  Comat:  the  1  inch  f  1.4  TTH  Ivotal:  the 
2  inch  //1.4  TTH  Ivotal;  the  2.8  inch  T/2.5  TTH  Pan- 
chrotal  and  the  4  inch  T/2.5  TTH  Panchrotal.  In  spite 
of  their  great  speed,  all  of  these  new  lenses  except  the 
4  inch  T/2.5  can  be  used  on  the  turret  of  any  B&H 
camera    and    most    other    turrets    without    interference. 

POSSIBLE  LENS  COMBINATIONS 
However,  because  of  the  compact  design  of  many 
camera  turrets,  as  compared  with  the  size  of  the  new- 
speed  telephoto  lenses,  a  wide  angle  lens  may  photograph 
the  end  of  a  large  telephoto  lens  located  next  to  it  on  a 
camera  turret. 

Figs.  2,  3  and  4  show  which  lenses  can  be  used  together 
on  the  turrets  of  the.  Bell  &  Howell  70-DL.  Bell  &  Howell 
Auto    Master    and    Bolex    H-16      [Continued  on  page  132] 


128 


APRIL    1951 


News  of  the  Industry 

Up  to  the  minute  reports  on  new 

products  and  services  in  the  movie  field 


J.    S.    Exner 


Berndt  exhibit  The  historical  col- 
lection of  motion 
picture  cameras  owned  by  Eric  M. 
Berndt  was  featured  at  a  recent  meet- 
ing of  the  Los  Angeles  Cinema  Club  in 
California.  Mr.  Berndt  has  been  col- 
lecting early  cameras  for  a  period  of 
25  years  and  he  states  that  he  is 
always  in  the  market  for  old  movie 
cameras  and  projectors.  He  can  be 
reached  at  Berndt-Bach.  Inc..  7377 
Beverly  Boulevard,  Los  Angeles  36, 
Calif. 

New  KodaguideS  EastmanKodak 
Company  has 
issued  two  new  exposure  guides — a  re- 
designed Movie  Kodaguide  for  both 
black  and  white  and  color  work  indoors 
and  out  and  a  Snapshot-and-Flash 
Kodaguide  for  still  photographers.  In- 
doors, the  Movie  guide  now  includes 
directions  for  using  the  popular  bar- 
type  lights,  as  well  as  conventional 
flood  units. 

Tenplus  gloves  Washable  white 
gloves,  made  of 
rayon  tricot,  are  offered  by  The  Ten- 
plus  Company,  43L  Garden  Drive, 
Roselle,  N.  J.,  for  use  in  protecting 
film  during  handling  and  editing. 
Priced  at  $1.98  a  pair,  they  come  in 
small,  medium  and  large  sizes. 

New  Keystones  Culminating  five 
years  of  inten- 
sive postwar  research  and  development, 
Keystone  Manufacturing  Company, 
Boston,  Mass.,  announces  its  new  line 
of  movie  cameras  and  projectors.  The 
Riviera  is  an  8mm.  magazine  camera 
in  both  single  lens  and  turret  styles; 
the  1951  Olympic,  an  8mm.  roll  film 
camera,  has  a  new  type  of  exposure 
guide  and  improved  mechanism  for 
drop-in  loading  of  film;  the  Mayfair 
is  a   16mm.   magazine   model,  and  the 


THE  MAYFAIR,  a  16mm.  magazine  model,  one 
of  four  new  cameras  offered  in  1951  by  the 
Keystone  Manufacturing  Co.  of  Boston,  Mass. 


E.  M.  BERNDT,  center,  dis- 
cusses an  item  from  his  col- 
lection with  officers  of  the 
Los  Angeles  Cinema  Club. 
Looking  on  are  Dr.  Harold 
L.  Thompson,  Harold  C.  Ram- 
ser  and  Richard  Reed,  presi- 
dent. 


new  Criterion  is  a  deluxe  16mm.  roll 
film  camera  with  turret. 

Featured  on  all  these  Keystone  cam- 
eras is  a  built-in  viewfinder  for  the 
wide  angle  lens,  and  a  top  speed  of  48 
or  64  frames  per  second. 

The  new  Regal  8mm.  (Model  K109) 
and  the  new  Belmont  16mm.  (K161) 
projector-editor-splicer  make  editing 
simpler.  The  splicer  is  concealed  in 
the  base  of  the  projector,  to  be  pulled 
out  when  needed.  Another  innovation 
is  a  lamp  plug  put  in  the  base  of  the 
projector  for  hookup  with  a  table  lamp. 
An  interlocking  switch  turns  off  the 
lamp  when  the  projector  goes  on  and 
vice  versa. 

Robert  C.  Berner,  sales  manager  of 
Keystone,  states  that  the  average  price 
of  the  new  models  is  actually  lower 
than  the  models  they  succeed,  a  saving 
made  possible  by  the  substantial  in- 
crease in  sales  of  the  entire  Keystone 
line.  These  new  instruments  will  be 
available  in  about  two  to  three  months, 
the  company  states. 

R.  S.  Pea  re  General  Electric  an- 
nounces the  death  of 
Robert  S.  Peare,  vicepresident  of  GE 
in  charge  of  public  relations  and  ad- 
vertising policy,  on  March  19  in  Sche- 
nectady, N.  Y.  In  1946  Mr.  Peare  re- 
ceived an  award  from  the  National 
Association  of  Public  Relations  Coun- 
sel, Inc.,  as  having  made  "the  greatest 
contribution  in  the  past  year  toward 
improvement  of  the  techniques  and 
application  of  public  relations  from 
the  professional  and  ethical  stand- 
point." Mr.  Peare  had  been  with  Gen- 
eral Electric  since  1922. 

New  Par  turret  Par  Products  Cor- 
poration has  in- 
troduced a  new  four  lens  turret  and 
rackover  for  Bell  &  Howell  series  70 
cameras.  The  turret  features  full  frame, 
ground-glass  focusing  through  the  tak- 
ing lenses,  a  filter  slot  for  behind-the- 
lens  filters  and  a  focus  compensator 
that  assures  critical  focusing  with  one, 
two  or  no  filters  in  use.  The  turret  is 
available  with  or  without  the  rackover. 
It  accommodates  simultaneously  four 
lenses,  from  wide  angle  to  telephoto. 
without    interference,    and    includes    a 


positive  turret  indexing  mechanism  and 
a  "constant  apparent  field"  viewfinder 
system. 

Further  information  may  be  had 
from  Par  Products  Corporation,  926  N. 
Citrus  Avenue,   Hollywood  38,  Calif. 

New  home  Official  Films,  Inc.,  has 
moved  all  its  facilities 
into  a  new  building  in  Ridgefield,  N.  J. 
Located  at  Linden  and  Grand  Avenues 
on  U.  S.  Route  6,  the  structure  now 
houses  the  sales  office  and  shipping 
department,  making  it  possible  to  cut 
delivery  time  on  orders  by  one  or  two 
days. 

John  W.  Scott  Eastman  Kodak 
Company  announces 
the  death  on  March  23  of  John  W. 
Scott,  a  production  consultant  on  the 
Kodak  Company's  executive  staff.  Mr. 
Scott  had  been  associated  with  the 
company  since  1918  and  in  1923  joined 
the  sales  department  for  special  work 
on  the  new  Cine-Kodak  camera.  In 
1939  he  coordinated  the  Eastman  Ko- 
dak Company  exhibits  at  the  New 
York  World's  Fair. 

Tiffen  news  The  Tiffen  Manufac- 
turing Corporation, 
71  Beekman  Street,  New  York  City, 
is  now  supplying  two  screw-in  type 
adapter  rings  to  fit  the  new  line  of 
Kern-Paillard  Visifocus  lenses.  One 
adapter  ring,  accepting  the  Series  V 
filters,  will  fit  all  the  new  Visifocus 
lenses  except  the  6  inch  //4;  for  this 
lens  a  Series  VI  screw-in  adapter  ring 


A  4  LENS  TURRET  for  Filmo  series  70  cameras 
is  now  offered  by  Par  Products,  of  Hollywood. 


MOVIE    MAKERS 


129 


is  supplied.  List  price  for  the  Series  V 
is  $1.40,  with  a  companion  lens  shade 
offered  at  $1.75.  The  Series  VI  ring  is 
$2.40,  and  the  appropriate  lens  shade 
lists  at  $2.00. 

Tiffen  also  offers  a  stainless  steel 
ruler,  marked  in  32nds  of  an  inch  and 
in  y'2  millimeters.  Called  the  Tiffen 
Pocket  Rule,  it  is  6  inches  long  and  is 
equipped  with  a  clip  for  handy  pocket 
carrying. 

EnteCO  The  United  States  armed 
forces  are  being  supplied 
with  the  products  of  Enteco  Industries, 
Inc..  of  Brooklyn,  N.  Y.,  it  is  reported, 
particularly  lens  hoods,  filters,  adapter 
rings  and  special  precision  optics.  So 
far,  Enteco  states,  this  military  work 
has  not  affected  its  output  for  civilian 
use. 

Stills  Wanted  Robert  Brightman, 
editor  of  Good  Pho- 
tography, has  issued  an  appeal  for  well 
written  and  illustrated  articles  on 
photographic  subjects  for  use  in  the 
13th  edition  of  that  publication  which 
is  to  appear  early  this  coming  summer. 
Color  transparencies  which  are  suitable 
for  cover  use  also  will  be  considered,  as 
well  as  prints  for  the  Salon  section. 

Mr.  Brighton  also  states  that  Photog- 
raphy Handbook,  No.  15  is  in  the  mar- 
ket for  material  concerned  with  how-to- 
do-it  and  how-to-build-it  items  relating 
to  photography,  as  well  as  prints  for  its 
Salon  section.  Further  details  concern- 
ing rates  and  requirements  may  be  had 
from  Mr.  Brightman,  67  West  44th 
Street.  New  York  18,  N.  Y. 

RCA  campaign  RCA  Victor  Div- 
ision of  the  Ra- 
dio Corporation  of  America  has 
launched  a  campaign  to  conserve  criti- 
cal materials,  called  the  "Triple  S" 
drive,  the  theme  of  which  is  "Save 
materials — Save  jobs — Serve  your  Coun- 
try." Heart  of  the  drive  is  an  expanded 
and  accelerated  employee  suggestion 
program  for  ideas  in  cutting  waste  and 
using  available  materials  in  place  of 
those  in  tight  supply. 

EBF  in  T.  H.  Wadsworth's  in  Hon- 
olulu has  been  named 
as  exclusive  distributor  in  the  Hawaiian 
Islands  of  Encyclopaedia  Britannica 
films  and  filmstrips,  it  has  been  an- 
nounced. Gale  Mobley  will  be  in 
charge  of  the  EBF  film  distributing 
program  and  will  serve  as  consultant  to 
educators  in  the  islands  in  planning 
their  audio-visual  instructional  pro- 
grams. 

E.  K.  items  Richard  M.  Wilson  has 
been  named  superin- 
tendent of  the  film  emulsion  coating 
division  at  Eastman  Kodak  Company's 
Kodak  Park  plant.  He  succeeds  David 
A.  Babcock,  who  retired  recently  after 
45  years  of  service. 


Headquarters  for  the  new  midwest 
division  of  Kodak's  motion  picture  film 
department  were  opened  recently  at 
137  N.  Wabash,  Chicago. 

Joseph  C.  Golan  is  the  new  super- 
intendent of  EK's  cine  and  sheet  film 
division  at  Kodak  Park.  He  follows 
Henry  T.  Ireland,  retired  after  43  years 
in   the   company. 

A  total  of  355  photo  sales  personnel. 
divided  into  fourteen  groups,  attended 
ten  day  sessions  at  Kodak's  sales  train- 
ing center  in  Rochester  during  1950. 
More  than  900  have  attended  the  course 
since  its  opening  in  1948.  said  Howard 
F.  Kalbfus,  director  of  the  center. 

New  Zealand  reporting! 

[Continued  from  page  118] 

It  was  in  this  part  of  the  Island  that 
the  Notornis,  or  Takahe,  was  recently 
rediscovered. 

There  abounds,  too.  the  filmer  who 
loves  to  show  those  charming  white  dots 
at  the  beginning  of  a  film,  usually  as 
a  fond  child  is  featured  swinging  the 
family  cat  by  the  tail.  This  continues 
for  perhaps  some  four  minutes,  with 
now  and  again,  "Sorry,  it's  out  of  focus 
here,"  or  "Watch  closely  now — that's 
me  in  the  garden." 

ORGANIZED  CLUBS  ACTIVE 
There  are  quite  a  number  of  amateur 
movie  clubs,  ranging  in  size  from  the 
Christchurch  Movie  Makers  with  a 
membership  approaching  150,  to  the 
new  Motueka  Movie  Makers  in  a  small 
town  near  Nelson,  with  a  membership 
of  thirty  five.  As  in  other  countries,  in- 
structional films  are  screened  and  talks 
are  given  at  our  meetings,  usually  sched- 
uled twice  a  month.  Competitions  are 
held,  perhaps  for  a  holiday  film,  a 
16mm.  color  or  a  four  minute  film.  At 
present,  the  only  nation-wide  competi- 
tion, open  to  members  of  any  club  in 
New  Zealand,  is  the  Centennial  Cup 
Competition,  instituted  in  1948  by  the 
Otago  Cine  Photographic  Club,  of  Dune- 
din,  to  commemorate  the  100th  Anniver- 
sary of  the  founding  of  the  province. 
This  club  turned  out  a  very  fine 
16mm.  color  film  of  Centennial  activ- 
ities covering  almost  a  year.  Such  events 
included  a  re-enactment  of  the  landing 
at  Port  Chalmers  by  the  early  settlers 
in  1848;  the  centennial  procession. 
Cavalcade  of  Progress,  and  various 
sports  events.  The  film  was  shot  by 
members  of  the  club,  who  lent  their 
film  to  a  committee  which  was  respon- 
sible for  the  editing  and  titling  of  the 
master  copy,  this  being  duplicated  in 
Melbourne. 

ACL  VISITORS  WELCOME 

If  any  ACL  member  is  contemplating 
a  visit  to  New  Zealand,  he  should  bring 
ALL  the  film  he  is  likely  to  use.  There 
is  no  customs  duty  on  film  stock  or  cine 


Photo  by  H.  Pimental,  Los  Angeles 

Get  the  New 

MEDIUM  BEAM 


GE 

REFLECTOR 
PH0T0FL00DS 


PH-375 

You  need  good  light 
to  shoot  that  first  tooth  and 
other  memorable  events!  Get  it 
—easily— with  the  new  General 
Electric  Medium  Beam  Reflector 
Photofloods! 

These  new  PH-375s  are  made 
especially  to  give  you  better 
home  movies.  Use  four  on  a 
single  home  lighting  circuit. 
You  get  plenty  of  light  right 
where  you  need  it,  and  with  less 
current!  Grand  for  color! 

Try  them!  Set  up  four  PH-375s, 
shoot  away  —  and  get  movies 
you'll  love. 

And  to  follow  action,  try  PH-375s  in 
camera  bracket  lights.  (Ask  your  dealer 
about  handy,  complete  packages  —  lamps 
and  bracket.) 


fat  event?  fi6otoyiei6/uc  /bcvrftaae 


GENERAL 
ELECTRIC 


130 


APRIL   1951 


16  MM>yM 


i  .„  A6«"<«  P,oa-       * 


16  MM 

and 


Motion 
Picture 
^Service 

WRITE 
FOR 
PRICES 
DEPT.  M 


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164  N.  WACKER  DRIVE,  CHICAGO  6,  ILL. 


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CITY . STATE 


lAnliuL  faurwucL  £xck. 

83  CHAMBERS  ST.  NEW  YORK  7  j 


equipment,  but  the  American  visitor 
should  procure  from  the  U.  S.  customs 
authorities  a  certificate  of  ownership  of 
these  materials,  for  use  on  re-entry  into 
the  States.  The  tourist  can  rest  assured 
of  a  warm  welcome  from  any  amateur 
club  in  New  Zealand  and  a  particular 
invitation  to  visit  my  own  home.  My 
address  is  available  from  ACL. 

Here  in  New  Zealand  we  are  all  look- 
ing forward  to  the  day  when  film  and 
cine  equipment  are  available  in  quanti- 
ties which  will  let  everyone  do  all  the 
filming  they  wish.  Until  then,  we  can 
only  wait — and  read  Movie  Makers! 

Filming  a  festival 

[Continued  from  page  115] 

and  Fourth  of  July — to  mention  those 
most  frequently  celebrated.  Festivals,  on 
the  other  hand,  usually  last  for  the 
better  part  of  a  week,  and  are  planned 
so  that  on  successive  days  some  public 
event  takes  place. 

These  public  events  are  usually  elabo- 
rate, and  to  set  up  and  get  ready  for 
them  may  require  at  least  an  hour.  Time 
is  needed  to  try  out  several  possible  lo- 
cations for  the  camera,  to  make  sure  the 
tripod  is  level,  to  have  the  lens  set  for 
the  grand  opening,  and  to  study  the  pro- 
gram and  calculate  the  best  breaks  for 
changing  film.  Only  by  unhurried  prep- 
aration can  the  results  fulfill  your  ex- 
pectations. 

POSITION  FOR  PARADES 

The  most  colorful  of  the  individual 
festival  events  usually  take  the  form  of 
parades,  group  dancing,  exhibits  and 
pageants.  For  parades  or  processions 
of  any  kind,  the  camera  position  should 
be  such  that  the  marchers  do  not  cross 
the  filming  field  at  right  angles.  Let 
them  pass  through  the  frame  diagonally 
in  such  a  way  that,  as  they  approach 
the  camera  position,  you  will  be  able 
to  get  a  relatively  close  shot  of  the 
individuals  performing.  In  filming  the 
Pinksterfeist,  wherein  the  children  pa- 
raded in  self-designed  hats — some  beau- 
tiful, some  fantastic,  some  grotesque — a 
concentration  of  head-and-shoulder  close 
shots  was  used  to  emphasize  the  bon- 
nets. Spectator  shots  for  this  perform- 
ance ran  the  gamut  from  interested 
smiles  to  boisterous  applause. 

FILMING  THE  LIGHT  FANTASTIC 

For  group  dancing,  in  order  to  make 
full-costume  long  shots  as  well  as  intri- 
cate figures  in  the  dance,  the  best  corn- 
era  position  is  about  twenty  five  feet 
from  the  front  line  of  performers.  If 
possible,  try  to  ascertain  from  the  leader 
of  the  group  the  dances  which  are  most 
interesting.  It  is  also  a  good  idea  to 
know  how  many  minutes  are  devoted 
to  individual  numbers,  since  that  will 
help  in  planning  the  footage  consump- 
tion. It  is  far  better  to  film  one  complete 


dance  routine  (that  is,  by  combination 
of  long  shot  and  telephoto  shot  to  give 
the  semblance  of  a  complete  dance) 
than  it  is  to  have  bits  of  five  or  six  dif- 
ferent numbers.  These  will  give  trouble 
not  only  in  editing  but  also  in  your 
musical  scoring. 

And  speaking  of  music,  if  the  tunes 
used  for  the  dances  are  not  familiar  to 
you,  the  leader  will  usually  be  able  to 
furnish  the  titles.  In  fact,  it  is  frequently 
possible  to  secure  the  same  recordings 
used  by  the  group,  which  saves  a  great 
deal  of  time  when  the  film  is  being  pre- 
pared for  presentation.  If,  as  it  some- 
times happens,  choral  numbers  are  in- 
cluded in  the  program,  they  may  safely 
be  disregarded,  unless  a  few  shots  of 
them  are  used  to  break  the  pattern  of 
too  much  dancing.  For  reaction  shots, 
spectators  applauding  serve  to  good  ad- 
vantage, as  well  as  shots  of  the  band 
or  orchestra,  if  live  music  is  used. 

Exhibits  can  be  monotonous.  If  they 
are  outdoors  (booths  selling  flowers  or 
souvenirs),  wait  to  photograph  them 
until  there  are  customers  or  visitors 
examining  the  displays.  If  any  of  the 
articles  are  unusual,  closeups  can  add 
an  interesting  note,  especially  if  the 
booths  are  attended  by  costumed  ven- 
dors. Indoor  exhibits  may  be  enlivened 
by  changing  the  camera  angle  for  each 
shot  to  be  included.  It  is  hardly  nec- 
essary to  film  all  the  exhibits;  but,  if 
blue  ribbons  have  been  awarded,  in- 
clude them  as  newsworthy  reporting. 

THE  BIG  PAGEANT 

The  climactic  pageant  offers  the  most 
colorful  sequences  and  is  usually  most 
elaborate.  The  processional  or  grand 
entrance — call  it  what  you  will — is  log- 
ically the  opening  scene.  After  the  ac- 
tion has  begun,  concentrate  on  the  main 
characters,  who  will  now  be  in  central 
stage  positions.  The  telephoto  lens  is 
best  for  this  task,  since  your  subjects 
will  be  most  attractive  if  they  are  re- 
laxed and  unconscious  of  the  camera. 
Turn  the  lens  on  the  spectators  fre- 
quently to  catch  them  in  a  variety  of 
attitudes — intent  on  the  show,  applaud- 
ing, taking  snapshots  or  movies — any- 
thing that  is  in  keeping  with  the  general 
atmosphere.  But  be  alert  for  the  pag- 
eant's closing  phase  and,  as  the  per- 
formance draws  to  a  close,  be  hopeful 
that  the  crowd  does  not  rush  on  the 
field,  spoiling  your  last  closeup  of  the 
Queen  of  the  Festival!  For  there  must 
be  material  for  a  logical  ending,  or  a 
film  otherwise  excellent  can  fall  rather 
flat. 

THE   END  IN  VIEW 

And  so  the  Festival  is  over — but  not 
for  the  movie  maker.  Ahead  are  long 
hours  of  cutting  and  editing,  selecting 
and  timing  the  music  and  writing  the 
narration.  Don't  grieve  if  there  are  too 
many  cuts  of  the  parade  and  too  few 
reaction  shots  to  smooth  out  the  effect. 


MOVIE    MAKERS 


131 


By  "creative  faking"  (see  Movie  Mak- 
ers, February,  1949),  friends  can  be 
induced  to  pose  for  closeups  taken  from 
a  low  angle  against  a  blue  sky.  Often, 
it  is  even  possible  to  get  participants 
to  meet  for  a  retake,  since  they  usually 
are  so  surprised  and  pleased  to  be  "in 
a  movie"  that  they  will  don  the  costume 
again  and  again  to  help  out. 

In  fact,  this  friendly  spirit  of  co- 
operation, encountered  so  often  while 
making  a  movie  of  this  kind,  is  a  heart- 
warming reward  in  itself.  Now  both  the 
pageant  and  the  picture  draw  people 
together  as  they  look  at  each  with  a 
refreshed  vision.  Fortunate,  indeed,  is 
he  who  lives  in  or  near  a  community 
which  sponsors  a  Spring  Festival! 


>equenci 


ing  Seq 


uoia 


[Continued  from  page  121] 

quoia  giants.  Estimated  as  approach- 
ing 4,000  years  old  and  as  such  the 
oldest  of  all  living  things,  this  ancient 
patriarch  of  the  forests  contains  enough 
lumber  to  build  forty  five-room  houses. 
Tall  as  a  sixteen  story  building,  it 
would  require  thirty  railroad  cars  to 
haul  its  main  trunk.  Surrounding  the 
General  Sherman  stand  a  score  of  other 
Big  Trees  which  nearly  attain  its  tow- 
ering height ;  together  they  create  one 
of  the  most  impressive  sights  in  the 
park.  From  them  the  highway  leads 
past  Lodgepole  Lake  and  Camp.  Lost 
Grove  and  finally  to  the  northwestern 
boundary  of  Sequoia  National  Park. 

GENERAL  GRANT  VILLAGE 
At  6.600  feet  and  forty  six  miles 
from  the  Ash  Mountain  entrance,  the 
Generals  Highway  officially  ends.  The 
same  route,  however,  continues  as  U.S. 
180  through  General  Grant  Village  and 
beyond  it  for  twenty  eight  miles  into 
the  south  fork  of  Kings  River  Canyon, 
at  Cedar  Grove. 

The  General  Grant  Village  is  to 
Kings  Canyon  National  Park  what  the 
Giant  Forest  Village  is  to  Sequoia. 
Here  all  types  of  accommodations  may 
be  found,  duplicating  Sequoia's  hos- 
pitality except  on  a  somewhat  smaller 
scale.  Three  hundred  yards  from  the 
village,  on  the  road  to  Kings  Canyon. 
a  left  turnoff  leads  to  the  Big  Trees. 
Parking  your  car.  you  may  walk  along 
footpaths  shadowed  by  many  interest- 
ing  giants. 

Near  where  a  bulletin  board  displays 
full  data  on  the  grove  stands  the  Gen- 
eral Grant  Tree,  second  in  size  only  to 
the  General  Sherman  in  Sequoia.  Its 
age  is  calculated  to  be  in  excess  of 
3.500  years.  But  among  the  more  inter- 
esting trees  of  the  Grant  Grove  is  the 
Fallen  Monarch,  a  prostrate  giant  so 
hollowed  out  by  fire  that  within  its 
trunk  a  man  could,  at  one  time,  ride 
horseback  through  almost  the  entire 
length.   There   is  a  history   attached  to 


this  log  that  bears  mentioning.  In  1868 
a  pioneer  filed  a  timber  claim  on  the 
Grant  Grove  and  lived  in  the  fallen 
Sequoia  until  he  built  his  cabin  in 
1872.  In  later  years,  sheepmen  and 
cattlemen  used  it  as  a  headquarters  and 
in  lumbering  days  it  was  a  saloon.  And 
prior  to  1913,  as  an  additional  insult 
to  its  majestic  grandeur,  it  was  used 
as  a  stable  for  the  United  States  Cav- 
alry patrolling  the  park. 

DOWN  TO  KINGS  CANYON 

From  the  General  Grant  Grove,  the 
highway  winds  its  way  down  into  the 
glacier-carved  canyons  of  the  Kings 
River  country,  past  such  points  of  in- 
terest as  the  turnoff  to  Hume  Lake, 
now  a  sleepy  little  resort  but  the  site, 
fifty  years  ago,  of  a  dam  for  logging 
operations. 

On  the  main  highway  again,  the  road 
continues  to  plunge  downward  till  it 
reaches  a  parking  area  above  the  junc- 
tion of  the  middle  and  south  forks: 
here  one  may  look  deep  into  the  can- 
yon and  see  the  Kings  River  take  a 
"U"  shaped  turn.  Beyond  this  point 
the  road  is  cut  into  the  very  rock  of 
the  canyon  walls,  with  one  spectacular 
river  view  succeeding  another,  till  the 
highway  ends   at   Cedar   Grove. 


Hints  on  turntables 

[Continued  from  page  117] 

with  sewing  machine  oil  and  running  it 
in  for  three  hours.  Had  this  failed,  the 
table  could  have  been  calibrated  bv 
building  up  the  diameter  of  the  metal 
driving  spindle  of  the  motor  shaft  with 
solder  (and  then  filing  it  round  while 
running  the  motor) . 


ADAPTING  PICKUPS 
When  you  purchase  your  pickups  you 
will  probably  discover  that  only  the 
very  expensive  transcription  heads  are 
equipped  with  tone  arms  of  greater 
than  normal  length.  Using  the  rela- 
tively short,  standard  tone  arms  causes 
the  location  of  the  pivot  rjoints  to  fall 
close  together  between  the  tables,  a 
very  inconvenient  location.  My  solution 
was  to  purchase  short  inexpensive  arms 
at  $2.95  each  (though  thev  have  a  fre- 
quency response  up  to  5000  c.p.s.)  and 
then  to  increase  their  effective  length 
by  modifving  the  linkage  at  the  pivot 
points.  The  new  linkage  was  made  to 
fit  into  the  arm  by  reshaping  its  ther- 
mal plastic  shell  with  a  soldering  iron. 
One  final  point.  If  you  are.  at  nresent. 
a  magnetic  (wire  or  tape)  sound  en- 
thusiast, or  even  if  you  are  a  member 
of  the  elite  sound-on-film  clan,  you  will 
still  find  a  set  of  turntables  an  invalu- 
able tool  in  preparing  your  sound 
track;  for  only  in  this  way  can  you 
bring  the  music,  sound  effects  and 
voice  together  at  the  same  time — the 
way  you  want  them. 


SESTtfaft 


Begin  with  an 

EL6EET  38mm  hy 
Telephoto  Lens 

Here's  a  lens  that  lets  you  take 
telephoto  shots  you  never  before 
thought  possible  —  a  lens  so  fast  you 
can  even  use  it  indoors  under  the 
most     difficult     lighting      conditions. 

The  matchless  quality  of  its  five 
element  lens  system  gives  you 
brilliant,  sparkling  color  shots  at 
3X  magnification  —  puts  you  in  the 
ring,  on  the  stage,  gives  you  un- 
posed,     natural     looking     close-ups. 

The  ELGEET  38mm  ft  1.5  Cine-Tel® 
Telephoto  Lens  is  available  in 
models  to  fit  all  8mm  cameras.  And 
it's  priced  lower  than  any  other  lens 
of  comparable  speed  and  quality. 
See  it  at  your  dealers  today!  Only 
$69.55  (tax  included). 


To  help  you  get  Pictures 
you'll  really  be  proud  of, 
send  for  the  free  booklet, 
"Exciting  Movies  With 
Elgeet  Lenses." 


a 


OPTICAL  COMPANY,  Inc. 

59  ATLANTIC  AVE.,   ROCHESTER  11,  NY. 


MAKERS    OF 

gfAe  9fot/t£b  &€n**t  Stente* 


132 


APRIL   1951 


Will  they  fit  my  camera? 

[Continued  from  page  127] 

cameras.  The  turrets  of  these  cameras 
may  be  regarded  as  typical  of  the  vari- 
ous 16mm.  turret  cameras  that  are  avail- 
able. You  will  notice  that  longer  focal 
length  lenses  can  be  mounted  on  these 
camera  turrets  if  the  compact,  medium 
speed  objectives  are  used  in  place  of 
the  larger  speed  lenses. 

STANDARD  LENS  ACTION 

Earlier  in  this  discussion,  we  as- 
sumed that  your  camera  was  currently 
equipped  with  a  lens  which  was  nor- 
mal, or  standard,  for  its  size  of  film. 
This  would  mean  that  from  the  galaxy 
of  lenses  already  tabulated  you  are 
now  seeking  a  suitable  wide  angle  or 
telephoto  lens  to  increase  your  filming 
facilities.  To  understand  most  clearly 
what  each  may  do  for  you,  let  us  ex- 
amine for  a  moment  what  the  so- 
called    "standard"    lens    does    for    you. 

Broadly  speaking,  the  focal  length  of 
a  lens  determines  the  degree  of  magni- 
fication it  offers  and  therefore  its  ef- 
fect on  pictorial  perspective.  The  focal 
length  that  is  regarded  as  standard  is 
that  one  which  gives  about  the  same 
magnification  and  perspective  as  the 
human  eye.  The  standard  focal  lengths 
are  %  inch  (12%mm.)  for  8mm.  cam- 
eras, 1  inch  (25mm.)  for  16mm.  cam- 
eras and  2  inch  (50mm.)  for  the  pro- 
fessional   35mm.    cameras. 

WIDE  ANGLE  LENS  ACTION 
A  wide  angle  lens,  therefore,  will  be 
any    lens    with    a    focal    length    shorter 


than  that  of  the  standard  lens.  Taking 
in  a  wider  angle  of  view,  both  hori- 
zontally and  vertically,  it  will  make  ob- 
jects appear  smaller  than  they  actually 
are  and  will  elongate  perspective  from 
front  to  back.  A  wide  angle  lens  is 
essential  for  indoor  work  or  for  any 
other  shots  where  the  photographer 
cannot  get  back  far  enough  to  include 
all  of  the  subject  with  the  standard  lens. 
Its  effect  on  perspective  is  similar  to 
that  created  by  looking  through  the 
wrong  end  of  a  pair  of  binoculars.  It  is 
often  used,  therefore,  to  make  rooms 
appear  larger  than  they  actually  are, 
to  exaggerate  distance  and  to  acceler- 
ate subject  movement  from  front  to 
back. 

TELEPHOTO  LENS  ACTION 
The  telephoto  lens,  conversely,  is 
any  lens  with  a  focal  length  longer 
than  that  of  the  standard  lens.  Its  ef- 
fect is  to  magnify  objects,  make  them 
appear  closer  to  the  camera  than  they 
actually  are,  and  thereby  to  compress 
perspective. 

Telephoto  lenses  are  all  too  often 
considered  useful  only  for  bringing 
distant  objects  up  close.  When  con- 
sidering a  telephoto  accessory  lens, 
however,  don't  overlook  its  ability  to 
magnify  subjects  in  closeup.  All  B&H 
and  TTH  telephoto  lenses  may  be 
focused  critically  on  subjects  only  a 
few  feet  from  the  camera.  With  a 
three  or  four  power  magnification  at 
this  distance,  you  can  get  some  spec- 
tacular studies  of  flowers  or  insects,  or 
many  amusing  candid   portraits. 

These,  then,  are  the  broad,  general 
abilities  of  the  wide  angle  lens  and  of 


the  telephoto.  Which  you  add  first  to 
your  equipment  will  depend,  naturally, 
on  the  kind  of  filming  you  most  often 
engage  in.  Ultimately,  our  guess  is 
that  you  will  want  them  both. 

In  closing,  I  should  like  to  report 
briefly  on  three  aspects  of  Bell  & 
Howell  lenses,  each  one  of  which  we 
regard  as  exclusive  to  our  optics  and 
all  of  which  will  contribute  to  the  uni- 
formity of  your  movie  making. 

THE  POSITIVE  VIEWFINDER 
First  on  the  list  is  our  "positive" 
principle  of  viewfinder  construction, 
whereby  interchangeable  viewfinder  ob- 
jectives are  matched  to  show  the  exact 
fields  covered  by  their  corresponding 
camera  lenses.  With  this  positive-type 
viewfinder — which  is  standard  on  all 
B&H  cameras  except  the  Companion 
and  the  Sportster — the  image  does  not 
move  as  the  eye  shifts,  so  that  the  limits 
of  the  field  are  always  sharply  defined. 
Such  positive  finder  objectives  are  avail- 
able for  all  our  16mm.  focal  lengths 
from  0.7  of  an  inch  to  6  inches  and  for 
all  8mm.  focal  lengths  from  0.25  of 
an  inch  to  2  inches. 

UNIFORM  MAGNIFICATION 

Even  more  important  to  uniformity 
of  action  throughout  a  series  of  lenses 
is  that  the  degree  of  magnification  be- 
tween one  lens  and  the  next  should 
itself  be  uniform.  Such  has  never  been 
the  case  with  the  customary  "1-inch" 
series,  in  which  a  given  increment  is 
added  between  each  focal  length.  In 
other  words,  the  difference  in  magni- 
fication between  a  2  inch  and  a  3  inch 
lens  is  not  the  same  as  the  difference 


FIG.   4:    Representative    combinations   of   B&H    and   TTH    lenses   in   all    standard  turrets  are  offered   here  as  applied  directly  to  Bolex   H-16  camera. 


Lens  Combinations  (B&H  and  TTH  lenses)  which  can  be  mounted 
on     the     Bolex     H-16     camera     turret     without     interference. 

Shortest  Lens 
on  Turret 

B&H  and  TTH  lenses  which  may  be  used  on  Bolex  H-16  camera  turret  with  shorter  lenses  listed   at   left. 
Lenses   in   these   columns   are   to   be   focused    on   infinity    (which    reduces   their   length    to   the    minimum). 

0.7"  f/2.5 
(T  2.7) 

1"  f/1.9 
l"f/1.4 

2"  f/1.4**  t 
2"  f/3.5 

2.8"  T  2.5**  t 

3"f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5* 

1"  f/1.9 

(T  2.1) 

2"f/1.4t 
2"  f/3.5 

2.8"  T  2.5t 

3"  f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5** 

1"  f/1.4t 

2"  f/1.4* 
2"  f/3.5 

2.8"  T  2.5* 

3"  f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5** 

2"  f/l.4t 
(T  1.6) 

2"  f/3.5 

2.8"  T  2.5* 

3"  f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5* 

2"  f/3.5 

2"f/1.4t 

2.8"  T  2.5t 

3"  f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5 

2.8"  T  2.5* 

3"  f/4 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5* 

3"  f/4 
(T  4.5) 

4"  f/4.5 

4"  T  2.5* 

6"  f/4.5 

4"  f/4.5 
(T  5.1) 

4"  T  2.5* 

6"  f/4.5 

4"  T  2.5§ 

6"  f/4.5* 

**With  sun  shade  and/or  filter  adapter  removed  when  mounted  in  seat  adjacent  to  "Shortest  lens." 
fMay  be  mounted  on  turret  with,  but  should  not  be  in  seat  adjacent  to  1"  f/1.4;  2"  f/1.4;  2.8"  T2.5  or  4"  T  2.5  TTH  lenses. 

May  be  mounted  on  turret  with,  but  should  not  be  in  seat  adjacent  to  "Shortest  lens  on  turret." 
§The  speed  and  long  focal  length  of  the  4"  T  2.5  TTH  lens  require  a  lens  barrel  of  diameter  so  great  that  it  will  overhang  the  lens  seat  adjacent  to  it, 

thus  permiting  the  use  of  only  one  other  lens  on  the  turret. 


MOVIE    MAKERS 


133 


between    a    3    inch    and    a    4    inch    ob- 
jective. 

A  consistent  increase  in  magnifying 
power  is  obtained  only  by  multiplying 
each  focal  length  by  a  given  figure.  In 
our  new  series  of  lenses — the  first  and 
only  set  offering  uniform  step  magni- 
fication from  lens  to  lens — the  magni- 
fying factor  we  have  selected  is  1.4. 
This  means  (1)  that  the  focal  length 
of  any  lens  will  be  1.4  times  the  focal 
length  of  the  lens  preceding  it  in  the 
series,  and  (2)  that  the  field  covered 
by  each  lens  in  the  series  is  exactly 
twice  that  covered  by  the  lens  of  next 
longer   focal  length. 

THE  T-STOP  SYSTEM 

Finally,  there  is  the  problem  of  uni- 
formity of  exposure  (and  therefore  of 
color  values)  between  consecutive 
scenes  in  any  film  created  by  a  truly 
critical  cinematographer.  We  do  not 
refer  here  to  variations  in  exposure 
traceable  to  an  inexperienced  judgment 
or  an  inaccurate  use  of  the  exposure 
meter. 

Our  concern,  rather,  is  with  notice- 
able differences  in  exposure  between 
scenes  taken  consecutively  and  under 
identical  lighting  conditions — but  with 
lenses  of  varying  focal  length.  You 
have,  let  us  say,  sequenced  a  given  sub- 
ject from  a  single  position  with  your 
wide  angle,  standard  and  telephoto 
lenses.  The  lighting  remained  the  same. 
and  you  used  the  same  /  number  on 
each  lens — but  one  shot  may  be  slightly 
over,  one  under  and  only  one  correct 
in  exposure  values. 

We  here  at  Bell  &  Howell  believe 
that  such  annoying  variations  may  be 
traced,  on  occasion,  to  the  possibilities 
for  accumulated  exposure  error  in  the 
/  stop  system.  Based  on  a  simple  math- 
ematical ratio  between  a  lens's  focal 
length  and  its  maximum  aperture,  the 
system  does  not  take  into  account  the 
varying  amounts  of  light  which  may 
be  lost  as  it  (the  light )  passes  through 
one  lens  and  another.  Thus.  //8  on 
your  standard  lens  may  produce  per- 
fect exposure,  while  //8  on  another  lens 
may  be  unsuitable  from  the  point  of 
view   of   matching  color  values. 

For  the  critical  color  worker  our 
answer  to  this  problem  is  the  T/stop — 
or  "transmission" — system  of  lens  cali- 
bration. With  it.  each  lens  is  individu- 
ally calibrated  with  T/stop  numbers 
based  on  physical  measurements  of  the 
actual  amount  of  light  transmitted  at 
each  aperture.  With  such  calibrations 
there  can  be  no  variation  between  the 
light  transmitted  by  any  two  lenses  set 
at   the   same    T/stop. 

(If  any  reader  of  Movie  Makers  is 
interested  in  studying  this  matter 
further,  Bell  &  Howell  Company  will 
be  happy  to  send  you  on  request  a  copy 
of  "This  T-Stop  Question,"  giving  de- 
tailed information  on  the  T/stop  sys- 
tem— The  Editors.) 


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4423    Harvey    Way  Long    Beach    8,    Calif. 


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637  Arch  St.,  Phila.  6,  Pa.,  U.S.A. 


134 


I.A.C.  competition  Enclosed  with  a  recent  note  from 
Leslie  M.  Froude,  secretary  of  the 
Institute  of  Amateur  Cinematographers,  ACL,  in  Eng- 
land, was  a  list  of  their  1950  annual  contest  awards.  The 
Daily  Mail  Challenge  Trophy,  for  the  most  outstanding 
film  entered,  went  to  Jael's  Nail,  a  black  and  white  com- 
edy by  the  Stoke-on-Trent  Amateur  Cine  Society. 

The  other  awards,  listed  in  order,  follow:  Amateur  Cine 
World  plaque,  for  most  meritorious  16mm.  work,  to 
Tides  of  Fortune,  by  the  Southwick  Players;  IAC  Silver 
Medallion  to  Christopher  Simpson  for  Time  Flower; 
IAC  Silver  Medallion  to  J.»  N.  Unwalla  for  One  Dinar 
More;  IAC  Bronze  Medallion  to  the  Crouch  End  Ama- 
teur Cine  Society  for  Taken.  For  A  Ride;  IAC  Bronze 
Medallion  to  the  Fourfold  Film  Unit  for  People  oj  Paper; 
The  Lizars  Trophy,  for  the  best  novice  film,  to  Peter  Hall 
for  Spring,  and  the  Twyford  Cup,  for  best  non-sync  sound 
accompaniment,  to  J.  J.  Butterworth  for  In  the  Shadow 
of  Cader  Idris.  In  addition,  five  films  were  highly  com- 
mended and  eight  commended. 

Milwaukee  gala  The  annual  Gala  Show  of  the  Ama- 
teur Movie  Society  of  Milwaukee, 
ACL.  held  the  end  of  last  month,  this  year  featured  the 
1950  Maxim  Award  winner,  The  Gannets,  by  Warren 
A.  Levett.  ACL.  (The  sound  on  film  print  loaned  Mil- 
waukee for  the  occasion  is  available  from  the  ACL  Club 
Film  Library.)  The  balance  of  the  program  included 
Jones  Beach,  by  George  Mesaros,  FACL;  Flabbergasted, 
by  Ray  Fahrenberg.  ACL:  Four  Seasons,  by  DeLylia 
Mortag:  Holy  Year,  1950,  by  Eugene  H.  Millmann,  ACL, 
and  One  Dinar  More,  by  J.  N.  Unwalla. 

Albany  guests  Members  of  the  Amateur  Motion  Pic- 
ture Society  of  Albany,  ACL,  were 
visited  recently  by  the  motion  picture  group  of  the  Sche- 
nectady (N.Y. )  Photographic  Society,  ACL,  who  pre- 
sented a  program  of  members'  films.  Present  Arms!,  by 

Tbelner  Hoover 


THE  TWENTIETH  ANNIVERSARY  of  the  Los  Angeles  Cinema  Club,  held  ot 
the  Wilshire  Ebell  Club,  saw  Wayne  H.  Fisher,  founder  president,  cut 
the  birthday  cake  with  new  and  retiring  prexies  and  wives  looking  on. 


Lewis  B.  Sebring,  jr.,  ACL,  headed  the  screening.  Other 
films  shown  were  A  Trip  to  the  Gaspe,  by  Dr.  Hyman 
Rudolf:  Old  Man  Ribber  and  Saguenay  Trip,  by  Mr.  Se- 
bring, and  Jonathan,  the  Chipmunk,  by  E.  H.  MacMullen. 

Omaha  awards  The  two  amateur  film  groups  in 
Omaha  recently  held  their  annual 
contests,  which  were  judged  by  the  ACL  Consulting  De- 
partment. The  Reverend  Earle  Conover  won  first  place, 
8mm.  class,  in  the  Omaha  Movie  Club,  ACL,  for  Art  of 
Ceramics.  Second  and  third  prizes  were  given  Dream 
Substance,  by  Frank  Grossbeck,  and  Rodeo,  by  Mr.  Con- 
over.  Black  Hills  Epic,  by  Gladys  Rohrs,  received  hon- 
orable mention.  In  the  16mm.  group,  Myron  Jacoby,  ACL, 
took  first  place  for  Wanderin  Judy.  Runners-up  were 
Rocky  Mountain  National  Park,  by  L.  E.  McBride.  ACL. 
and  Through  the  Ozarks,  by  John  L.  Koutsky.  Outdoor 
Nebraska,  by  V.  B.  Walters,  ACL,  received  honorable 
mention. 

In  the  contest  of  the  Cinema  16  Club,  ACL,  V.  B. 
Walters,  ACL,  won  first  place  and  grand  award 
with  Jackson  Hole.  Second  place  went  to  Mike  Kobold, 
ACL.  for  South  of  the  Border.  Queen  Flora's  Court,  by 
Harold  C.  Ramsey,  ACL,  and  Stops  in  the  Scenic  South- 
west, by  Mr.  McBride,  both  received  honorable  mention. 

Utah  award  dinner  The  Utah  Cine  Arts  Club,  ACL, 
of  Salt  Lake  City,  held  its  ninth 
annual  award  banquet  in  the  Crystal  Room  of  Newhouse 
Hotel  recently.  The  following  club  contest  winners  were 
screened:  Green  River  Expedition,  1950  Ten  Best  winner, 
by  Al  Morton,  FACL;  High  Waters,  by  Bill  Langton, 
ACL;  Hook,  Line  and  Stinker,  by  Dick  Carman,  ACL;  / 
Walked  a  Crooked  Trail,  1950  Honorable  Mention,  by 
O.  L.  Tapp,  ACL:  On  Location  with  MGM,  by  Al  Lon- 
dema.  and  Tailspin  Takes  a  Trip,  by  Helen  Christensen, 
ACL. 

Durban  A  recent  screening  of  the  Cine  8  Club,  ACL,  of 
Durban,  South  Africa,  featured  3000  Miles  of 
South  Africa,  by  Dr.  H.  A.  Johnson.  This  was  followed 
by  a  panel  discussion  and  criticism.  Also  projected  were 
Molweni,  by  W.  E.  Powell,  and  Bali,  by  Dr.  V.  A.  Wager. 
The  club's  fifty  foot  contest  was  won  by  A.  Brodie  with 
We  Love  Each  Other — But.  Runners-up  were  Moving  Mo- 
ment of  a  Great  Occasion,  by  R.  B.  Phelp;  Flying  Visit, 
by  A.  E.  Arnott,  and  Meeting  the  Browns  of  Durban 
North,  by  H.  Magness. 

Toledo  The  Toledo  Cine  Club.  ACL,  introduced  a 
novel  idea  into  their  club  activities  this  year. 
Four  members'  names  were  drawn  from  a  hat.  Members 
so  elected  became  captains  and  in  turn  chose  three  others 
to  form  four  teams  of  four  men  each.  At  a  subsequent 
meeting  the  teams  were  given  thirty  minutes  and  twelve 
feet  of  film  to  shoot  a  script.  While  there  is  no  mention 
of  a  Maxim  Award  being  produced,  members  derived 
good  shooting  practice  and  lively  entertainment  from 
the  experiment. 


MOVIE    MAKERS 


Ed.  Brailfii-ld 


135 


FRANK  FISHER,  ACL,  left,  takes  the  "Peter" 
trophy  of  T  &  V  Movie  Club,  ACL,  in  New  York 
City,  from  Dr.  Herbert  Shaw,  ACL,  president, 
as  Margaret  Barron  looks  on.  Fisher's  award 
winner   was   A    Magical  Trip   Through    Florida. 


T  &  V  winners  Frank  Fisher, 
ACL.  won  top  hon- 
ors in  the  recent  contest  of  the  T  &  V 
Movie  Club,  ACL,  in  New  York  City. 
The  club's  rotating  trophy,  "Peier," 
was  handed  over  to  Mr.  Fisher  for  his 
travel  comedy,  A  Magical  Trip  Through 
Florida.  Other  winners,  in  order,  were 
Ten  Year  Old,  by  Ed  Barrow,  ACL, 
and  Handy  Andy,  by  Saul  Maslow,  ACL. 
All  films  were  8mm.  and  were  accom- 
panied by  music  on  disc.  Members  of 
the  club,  in  the  main,  are  residents  of 
(Peter)  Stuyvesant  Town  and  Peter 
Cooper  Village,  adjacent  post-war  hous- 
ing developments,  hence  the  club 
trophy,  "Peter." 

A  members'  Gala  is  being  staged  by 
the  T  &  V  Movie  Club.  ACL.  on  Tues- 
day, April  17.  The  screening  will  be 
given  in  a  school  auditorium  near  Stuy- 
vesant Town  and  Peter  Cooper  Village, 
Manhattan.  For  further  information, 
call  Dr.  Herbert  Shaw,  ACL.  SP  7-5790 
or  GR  7-4327.  Admission  is  free. 

Memphis  elects     The  principal 

business  of  the 
January  meeting  of  the  Memphis  Ama- 
teur Movie  Club  was  the  election  of 
officers  for  the  current  year.  Howard 
W.  Greene  was  named  president,  with 
Frank  W.  White,  ACL.  as  vicepresident. 
Clara  C.  Canale  is  secretary,  and  Rob- 
ert P.  Burton  is  treasurer. 

Maryland  organizes     A     new 

group  of 
amateur  filmers  has  recently  organized 
at  Cumberland,  Md.,  under  the  name 
of  Western  Maryland  Cinematograph- 
ers'  Club,  ACL.  John  F.  Zimmerman  is 
president,  and  Robert  0.  Slemmer  is 
secretary-treasurer.  The  club  is  open 
to  membership.  Persons  interested  in 
joining  should  write  Mr.  Slemmer.  care 
of  the  club.  P.  0.  Box  572.  Cumber- 
land. 

Brazil  awards  Tne  second  Na- 
tional Cinematog- 
raphy contest  was  staged  in  Januarv  by 
Foto-Cine  Clube  Bandeirante.  ACL.  of 
Sao  Paulo,  Brazil.  The  A  Gazeta  Trophy 
was  awarded  Alguns  Dias  em  Bertioga, 


by  Estanislau  Szankowski.  first  prize 
winner  in  the  documentary  class.  The 
A  Gazeta  Esportiva  Trophy  went  to 
Klaus  M.  Carioba  for  Santa  Catalina. 
The  Estimulo  Cup  went  to  Jean  Lecocq 
for  Aldeia  em  Paris,  a  sound  film  given 
second  prize  in  the  documentary  class, 
while  in  the  scientific  category.  Cata- 
rata,  by  Benedicto  J.  Duarte.  won  first 
prize,   a  technical   manual. 

Dr.  Armando  Nascimento.  jr.,  is  new 
chairman  of  the  club's  motion  picture 
division,  with  Antonio  da  Silva  Victor 
named  as  club  secretary. 

Winnipeg  The  Winnipeg  (Ont.) 
Cine  Club  began  its  fif- 
teenth year  of  activity  with  the  follow- 
ing officers  for  1951 :  E.  H.  Oliver,  pres- 
ident; R.  G.  Cairns,  vicepresident;  W. 
R.  Lawson.  continuing  as  secretary- 
treasurer,  and  Ron  Thompson,  record- 
ing secretary.  The  executive  council 
consists  of  Ivan  Lambert.  Orland  Gib- 
son. Cecil  Kerr.  Bob  Cohan,  ACL.  Jack 
Saunders  and  D.  A.  Patterson. 

The  club's  uncut  film  contest  wa< 
won  by  Harold  Rasmussen  with  a 
Christmas  film.  Runners-up  were  Roy 
Lind  and  Mr.  Thompson.  The  first  pro- 
gram of  the  new  year  featured  1950 
Western  Holiday,  by  Mr.  Rasmussen. 
and  Sandy  Hook  Vacation,  by  Graham 
Cairns. 

New  Zealand  A  recent  Christ 
church  Movie  Club 
bulletin,  Chris/church  Movie  Makers, 
details  the  group's  annual  Best  Films 
of  the  Year  showing.  Here  Shall  Rise 
a  City,  by  Roy  Evans,  captured  the  Ian 
Little  Cup  and  top  honors  for  the  out- 
standing film  of  1950  produced  in  New 
Zealand.  Ian  Satherley  won  the  Novice 
and  Storey  Cups  for  Show  of  Shows. 
The  Bailey  Cup  went  to  Mr.  Bain  for 
Catch  'em  Alive.  Christchurch  Calen- 
dar, by  Mrs.  MacGibbon.  and  Story  of 
Two  Cigarettes,  by  J.  H.  Robertson, 
concluded  the   program. 

Denver  forum  An  open  forum  on 
television  and  pho- 
tographic lighting  techniques  was  pre- 
sented recently  by  the  Denver  Council 
of  Camera  Clubs  and  the  Illuminating 
Engineering  Society.  The  meeting 
opened  with  a  showing  of  the  film.  The 
Price  of  Freedom. 

Ra-Cine  ballots  Members  of  the 
Ra-Cine  Club, 
ACL.  of  Racine.  Wise,  chose  a  new 
slate  of  officers  for  the  coming  year. 
Richard  Kearney.  ACL.  is  president, 
with  Louis  Troestler  as  vicepresident. 
Mrs.  John  Kibar  is  secretary  and  Mrs. 
Henry  Fugina  treasurer.  The  Reverend 
Edwin  .faster.  ACL.  edits  the  club  pa- 
per. 

One  reel  scenarios,  filmed  during  the 
course  of  a  meeting  night,  have  ab- 
sorbed   the    members'    interest    in    re- 


U.  S.  Pat.  No.  2260368 


GOERZ  AMERICAN 

APOGOR 

F:2.3 

the  movie  lens  with  microscopic 
definition  successful  cameramen 
have  been  waiting  for— 


A  new  six  element  high  quality  lens  for  the  16  and 
35  mm  film  camera.  Corrected  for  all  aberration  at 
full  opening,  giving  highest  definition  in  hlaek>&< 
white  and  color.  Made  by  skilled  technicians  with 
many    years    of   optical   training. 


Fitted  to  precision  focusing  mount  which  moves 
the  lens  smoothly  without  rotating  elements  or 
shifting    image. 


This    lens    conies   in    C    mount    for    16    mm    cameras. 
Fitting   to   other  cameras   upon   special   order. 


Sizes     available     now  :     35     and     50     mm    uncoated 
and   75  mm  coated. 


Write    for    prices,    giving    yt>ur    dealer's    nan 


1!^  GOERZ  AMERICAN 

OPTICAL    COMPANY 
OFFICE  AND  FACTORY 

317    EAST    34    ST.,   NEW    YORK    16,   N.    Y. 

MM-4 


THE  RALPH  R.  ENO  CORP 


fi2fi    w      165   ST      •    NEW    YORK 
Send  your  film  for  free  criticism  or  estimate 


8MM  — 16  MM 
KODA04T40ME 
BLACK  &  WHITS 


Safeguard    your 

Film.   Ship   in 

FIBERBILT 

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400'  to  2000'  16mm. 

FIBERBILT 
CASE  CO. 

40    WEST    17th    ST. 
NEW     YORK     CITY 


136 


APRIL    1951 


Classified 
advertis  i  ng 


H  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 

10  Cents  a  Word  Minimum  Charge  $2 

■  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 

EQUIPMENT   FOR   SALE 

■  CINE-SPECIAL  I,  black.  1"  //1.9  lens,  $350.00. 
Cine-Special  100'  chambers,  S125.00;  200',  S245.00. 
Craig  Editor,  viewer,  rewinds,  splicer  complete,  new 
demonstrator,  list  891.50,  special  $55.00.  Bolex  H-16, 
1"  f/1.9  lens,  $175.00.  Filmo  Model  A,  1"  f/1.9  lens, 
$70.00.  Kodascope  FS-10N  sound  projector  like  new, 
$195.00  B&H  Diplomat  projector  and  case,  $145.00. 
Presto  12"  disc  recorder,  demonstrator,  S225.00.  Buy- 
sell-trade  16-35mm.  motion  picture  equipment.  THE 
CAMERA  MART,  Inc.,  70  West  45th  Street,  New 
York. 

■  SYNCHRONOUS  motors  installed  on  16mm.  pro- 
jectors. $145.00.  Synchronous  equipment  rented  and 
sold.  M.  W.  PALMER,  468  Riverside  Drive,  New 
York  27. 

■  UNBEATABLE!  !  Up  to  40%  discount  on  brand 
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■  CINE-KODAK  SPECIAL  #1;  1948,  perfect;,  f/1.9 
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cent  months.  Demonstrations  of  light- 
ing and  other  filming  techniques  are 
regular  features  of  these  club  partici- 
pation activities.  A  program  of  sound 
films  and  a  visit  to  a  professional  sound 
studio  were   featured  last   month. 

Walla  Walla  The  closest  thing  to 
a  traveling  salon  of 
Ten  Best  films  was  presented  recently 
by  the  Walla  Walla  Cinema  &  Camera 
Club,  ACL,  when  the  group  staged  its 
first  annual  ACL  Evening.  The  program 
opened  with  Back  to  the  Soil,  by  George 
Mesaros,  FACL.  This  was  followed  by 
Squeaky's  Kittens,  by  Walter  Berg- 
raann,  FACL;  Menemsha,  by  Jose  Pa- 
von,  ACL ;  Minnesota  State  Fair,  by  the 
Minneapolis  Cine  Club,  ACL,  and  One 
Dinar  More,  by  J.  N.  Unwalla. 

The  annual  event  is  designed  to  bring 
the  club  the  best  examples  of  amateur 
filming  in  an  evening-long  program  and 
draw  members'  attention  to  the  benefits 
and  privileges  of  ACL  affiliation. 

Seattle  program  A    program    of 

short  films  was 
presented  members  of  the  Seattle  Ama- 
teur Movie  Club,  ACL,  recently.  Three 
8mm.  films  shown  were  Witch's  Tale, 
by  Collene  Yates,  ACL;  Snow  Scenes 
at  Sun  Valley,  by  Albert  Odgaard,  and 
Thru  the  Gorges  of  the  Stikine,  by 
George  Tuthill.  A  400  foot  16mm.  color 
film,  Scotland,  by  Dorothy  Beggs,  com- 
pleted the  screening. 

Chicaqo  ^he  Chicago  Cinema  Club, 
ACL,  had  the  opportunity 
last  month  to  see  Nature  and  the  Mon- 
arch Butterfly,  by  Leon  F.  Urbain,  when 
the  producer  presented  the  film  and  its 
accompanying  lecture  for  the  seventy 
seventh  time  since  completing  it.  The 
film  has  attracted  considerable  atten- 
tion in  scientific  filming  circles. 

This  month  the  club  screening  will 
feature  The  Mighty  St.  Lawrence,  by 
Norman  Hallock.  At  a  subsequent 
meeting  Cyril  S.  Dvorak,  president  of 
the  Associated  Amateur  Cinema  Clubs, 
will  present  an  evening  of  instructional 
films  on  the  art  and  technique  of  mo- 
tion  picture   making. 

Wash.  D.C.  The  camera  class  of 
the  Washington  So- 
ciety of  Amateur  Cinematographers  is 
currently  engaged  in  producing  a  group 
film  on  the  Washington  zoo.  Each  mem- 
ber of  the  class  is  assigned  a  particu- 
lar feature  of  the  zoo  and  must  scen- 
arize  and  execute  it  himself.  The  vari- 
ous individual  parts  are  then  studied 
in  the  class,  edited  and  combined. 

Major  William  Anderson,  ACL,  and 
Mrs.  Anderson  produced  the  top  point 
earner  in  the  club's  history  of  monthly 
contest  screenings.  Their  film.  The 
Monarch  Butterfly  Story,  received  98.5 
points.  The  other  films,  in  order  of  rat- 
ing, were  Washington,  Spring  and  Fall, 


WITH    GRATITUDE    .   .    . 

The  Amateur  Cinema  League  takes 
pleasure  in  acknowledging,  with  sin- 
cere gratitude,  the  following  dona- 
tions to  the  ACL  Club  Film  Library: 

THE  GANNETS,  1950  Maxim 
Award  winner  by  Warren  A.  Levett, 
ACL,  with  the  sound-on-film  track 
recorded  and  donated  by  J.  A. 
Maurer,  Inc.,  and  the  16mm.  Koda- 
chrome picture  printed  and  donated 
by  Precision  Film   Laboratories. 

CIRCUS  TIME,  1950  Ten  Best 
award  winner  by  George  Merz, 
ACL,  with  sound  on  tape  and  the 
16mm.  Kodachrome  picture  donated 
by  the  producer. 

PLYMOUTH,  a  300  foot  16mm. 
Kodachrome  study  of  this  historic 
Massachusetts  landmark,  produced 
and  donated  by  Oscar  H.  Horovitz, 
ACL. 


by  V.  E.  Patterson;  C.  &  O.  Canal, 
by  Mrs.  I.  M.  Cordell,  ACL,  and  West- 
ward Ho.  by  Roy  R.  Hurley,  ACL. 

The  club  recently  became  incorpor- 
ated and  at  the  same  time  changed  its 
name  to  Washington  Society  of  Cinema- 
tographers. 

MMPC  Gala  The  eighteenth  annu- 
al Gala  Show  of  the 
Metropolitan  Motion  Picture  Club,  ACL, 
will  be  presented  on  Friday  and  Satur- 
day evenings,  April  27  and  28,  at  Hun- 
ter College  Playhouse.  Lexington  Ave- 
nue at  68th  Street,  in  New  York  City. 

Featured  on  the  program  will  be  The 
Gannets,  1950  Maxim  Award  winner 
by  Warren  A.  Levett,  ACL.  of  West 
Hartford,  Conn.  Other  outstanding  pic- 
tures scheduled  include  Hands  Around 
the  Clock,  by  William  Messner,  ACL; 
Circus  Time,  by  George  Merz,  ACL, 
and  The  Barrier,  by  Glen  H.  Turner, 
ACL.  all  1950  Ten  Best  winners,  as 
well  as  Crime  In  Passion,  MMPC  club 
contest  winner  by  John  Caruso,  ACL, 
and  My  Trip  To  Europe,  by  Harry 
Groedel,  ACL. 

Tickets,  priced  at  $1.35  tax  in- 
cluded, may  be  obtained  from  Mr.  Groe- 
del at  Room  4108,  350  Fifth  Avenue, 
New  York  1,  N.  Y. 

MadlSOn  meets  The  screening  ses- 
sion last  month 
of  the  Madison  Movie  Club,  ACL, 
featured  the  showing  of  Finland,  by 
Aarne  Valikangas,  of  Helsinki,  Fin- 
land, an  International  Rotary  student 
attending  the  University  of  Wisconsin 
in  Madison.  Also  shown  were  The  Bet- 
ter Half,  by  a  club  group,  and  A  Trip 
to  Eastern  Canada,  by  Dr.  Bergman. 

Minneapolis  The  February  meeting 
of  the  Minneapolis 
Cine  Club,  ACL,  included  a  screening 
session,  lectures  and  a  demonstration. 
The  latter,  conducted  by  Stanley  Berg- 
lund,  concerned  synchronization  of  mag- 
netic tape  recording  with  projector. 
Howard  Fields  spoke  on  background 
music  for  films,  and  Dr.  Leonard  Mar- 


MOVIE    MAKERS 


137 


tin,  ACL,  discussed  tape  recording  tech- 
nique. 

The  films  projected  were  1949  Vaca- 
tion, by  C.  Wm.  Westafer,  ACL;  Min- 
neapolis, by  Albert  Roser;  Miss  Amer- 
ica of  1950,  by  Edwin  L.  Pearson,  and 
Caribbean  Flight,  by  Dr.  H.  0.  Mc- 
Pheeters,  ACL. 

The  club  production  for  the  annual 
Spring  Show.  Pentrascope  Fantasy,  is 
going  forward  under  the  co-chairman- 
ship of  Dr.  Martin  and  Carroll  David- 
son, ACL. 

Taft  session  A  recent  regular  meet- 
ing of  the  Taft  Cinema 
Club.  ACL.  in  the  Bronx,  New  York 
City,  featured  the  following  films: 
Nickeltown,  8mm.  project  of  the  New 
York  8mm.  Motion  Picture  Club;  Farm 
Frolics  and  Rhapsody  in  Snow,  an  8mm. 
and  a  16mm.  film  respectively  by  Terry 
Manos.  ACL.  and  Fall  of  the  House  of 
Usher,  from  the  ACL  Club  Film  Library. 


I  heard  it  with 
my  own  eyes! 

[Continued  from  page  113] 

— he's  out!"  argument  at  homeplate. 
The  kids  may  be  better  actors  than  you 
think. 

A  tour  de  force  of  this  kind  should 
not  be  carried  to  any  great  length  lest  it 
trip  on  its  own  trickery.  But  you  will  find 
plenty  of  material  to  make  up  an  en- 
tertaining one  reeler  from  the  sug- 
gested titles  and  such  other  ear-teasing 
items  as  you  would  like  to  add  to  your 
picture  album  of  spring  sounds.  A  few 
that  might  be  included  are  the  lawn 
mower,  humming  tops,  a  park  carousel, 
an  organ  grinder,  the  flapping  sails  of 
a  small  boat,  banging  shutters  on  a 
windy  day.  a  litter  of  crying  kittens 
or  the  staccato  carpentry  of  building 
bird  houses. 

A  light  novelty  film  of  this  type 
might  well  end  on  a  humorous  note: 

Perhaps  the  most  strident  of  all 
spring  sounds  is  the  cry  of  Homo 
Sapiens  to  his  mate. 

Conclude  with  an  episode  in  which 
the  wife  calls  in  the  Old  Boy  for  a 
surprise  showing  of  the  new  spring  bon- 
net. She  settles  her  spouse  comfortably 
in  his  easy  chair  and  brings  in  a  fancy, 
ribbon-decked  hatbox.  Turning  her  back 
to  the  camera,  she  removes  the  hat  and 
places  it  on  her  head  with  the  aid  of  a 
hand  mirror.  She  moves  now  to  model 
her  frippery  and  hands  hubby  the  ac- 
companying bill.  A  closeup  of  the  bill 
reveals  her  contempt  for  economy  and 
the  hat  reveals  her  respect  for  the  mad- 
cap tradition  of  Easter  toppers.  The 
combination  is  too  much  for  pater:  and 
we  show  his  chagrin  in  a  full-face  close- 
up,  fading  on  a  subsequent  closeup  of 
his  mouth  as  he  gives  voice  to  an  ago- 
nized veil. 


Talking  of  the  Ten  Best 

[Continued  from  page  125] 

entered)  and  38%  story  films  honored 
(as  opposed  to  17%  entered). 

There  are,  it  seems  to  us,  a  number 
of  interesting  conclusions  which  may 
be  drawn  from  these  figures.  First,  as 
already  stated,  that  the  majority  of 
amateurs  make  record  films,  the  mi- 
nority story  films.  Second,  that  among 
those  who  do  make  story  films  (ad- 
mittedly a  difficult  form  for  the  home 
firmer),  the  relative  ability  is  apparent- 
ly high.  And  third,  that,  if  the  ACL 
seems  to  favor  any  type  of  film  over 
another,  it  is  the  story  (or  creative 
work)   rather  than  the  record. 

Actually,  this  final  conclusion  is  in- 
accurate. As  far  as  is  humanly  possi- 
ble, every  member  of  our  board  of 
judges  attempts  to  evaluate  each  film 
squarely  on  its  merits — regardless  of 
its  type.  We  have  come  by  now  to  ex- 
pect good  technique  (there  will  be 
more  on  this  in  a  moment).  Thus. 
what  we  are  looking  for,  no  matter  in 
what  form  it  may  be  expressed,  is  crea- 
tive imagination.  We  wish,  as  does  our 
Kansas  City  correspondent,  to  be  made 
to  see  and  feel  sorrow,  happiness,  fear 
or  laughter — and,  we  might  add,  such 
other  emotions  as  sincerity,  wonder, 
grace  and  tenderness.  These  are.  ad- 
mittedly, ingredients  of  high  stature. 
But  where  we  do  find  them — whether 
in  record  or  plotted  pictures — an  award 
is  likely  to  follow. 

And  now  a  word  about  our  judging 
standards.  It  was  stated  just  a  moment 
ago  that  "we  have  come  to  expect  good 
technique."  This  seems  a  relatively 
simple  statement;  but  it  is  important 
that  every  Ten  Best  contestant  should 
understand  it  clearly.  The  facts  are 
these:  the  standards  by  which  the 
League's  staff  select  the  Ten  Best 
Amateur  Films  of  each  year  are  set  by 
the  amateurs  competing  in  that  year — 
and  in  all  the  years  preceding  it.  They 
are  not  set,  either  arbitrarily  or  in- 
flexibly, by  the  League's  staff. 

A  specific  example  should  make  this 
point  evident.  The  Ten  Best  contest, 
first  launched  in  1930,  was  in  Decem- 
ber, 1950.  in  its  twenty  first  year.  In 
perhaps  the  first  ten  of  those  years  of 
competition  relatively  few  amateurs 
used  a  tripod.  Thus,  it  was  entirely 
possible  for  a  film  shot  off  a  tripod 
to  place  among  the  Ten  Best — which, 
in  fact,  many  of  them  did.  Gradually, 
however,  the  judges  noted  that  more 
and  more  films  entered  for  honors 
were  100  percent  tripod  steady,  a  qual- 
ity which  so  continued  to  grow  that 
today  it  is  relatively  unlikely  for  a 
hand-held  film  to  place  among  the  ten. 

What  happened  in  this  case?  Did  the 
ACL  judges  as  of,  perhaps,  1941  set 
up  a  hard  and  fast  standard  of  ''no 
tripod — no    Ten   Best?"    Certainly   not, 


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138 


APRIL   1951 


ON   SETTING   STANDARDS 


IN  the  course  of  our  discussion  Talking  of  the  Ten 
Best,  which  appears  on  page  125,  we  have  made  a 
statement  concerning  our  contest  judging  stand- 
ards which,  to  the  thoughtful,  might  lead  to  an  inac- 
curate implication.  We  should  like,  therefore,  to 
examine  it  further  in  this  space. 

We  say  at  one  point  in  the  discussion  that,  in  our 
contest  judging,  "we  have  come  to  expect  good  tech- 
nique." A  moment  later  we  explain  that  the  true 
meaning  of  this  statement  is  that  our  judging  stand- 
ards for  each  year  are  set  by  the  amateurs  competing 
in  that  year — not  arbitrarily  or  inflexibly  by  the 
League's  staff  itself.  We  go  on  then  to  give  a  concrete 
example  (the  ever-increasing  use  of  tripods)  of  this 
competitive  practice  in  operation. 

We  have  no  intention  now  of  retracting  one  iota 
of  our  faith  in  this  policy.  We  believe,  both  by  ex- 
perience and  by  reason,  in  its  validity.  And,  at  the 
risk  of  seeming  presumptuous,  we  can  give  you  an 
example  of  it  in  operation  elsewhere.  It  is  this  .  .  . 
By  the  time  you  read  these  words,  the  Academy  of 
Motion  Picture  Arts  and  Sciences  will  have  announced 
its  selections  of  the  best  picture,  best  director,  best 
writer,  best  actor  and  so  on  for  1950.  Each  will  be  a 
deserving  winner,  without  a  doubt.  But  they  carry 
with  them  no  guarantee  by  the  Academy,  either 
explicit  or  implied,  that  each  winner  for  1950  will 
be  better  than  its  similar  number  of  last  year  or  the 
year  before.  Nor  should  there  be  any  such  guarantee. 
For  these  winners  were  not  competing  against  the 
productions  of  last  year  or  the  year  before.  Nor  were 


they  being  measured  against  an  arbitrary  Academy 
yardstick  to  which  they  must  stand  up  or  fall  short 
of  all  acclaim.  They  were  competing  among  the  pic- 
ture product  of  19  50  only.  And  in  so  doing  they  had 
set  their  own  standards. 

We  come  now  to  the  implications  of  such  a  judg- 
ing system.  The  thoughtful  might  well  charge  that 
it  does  not  make  for  inspiration,  for  a  leading  on  of 
the  movie  makers  involved  to  ever  bigger  efforts  and 
still  better  pictures.  And,  they  might  add,  such  lead- 
ership, such  inspiration,  is,  surely,  the  avowed  central 
purpose  of  both  the  Academy  and  the  ACL. 

Concerning  this  latter  statement,  and  speaking 
now  only  for  our  ACL,  we  affirm  it  with  all  our 
heart.  For  ultimately  every  effort  of  our  organiza- 
tion— our  book,  our  magazine,  our  consulting  and 
our  club  program — is  aimed  at  aiding  each  member 
in  making  better  movies.  But  we  do  not  regard  set- 
ting arbitrary  and  unattainable  judging  standards 
as  a  form  of  aid  or  inspiration.  We  recognize  that 
each  amateur  must  learn  to  walk  before  he  can  run. 
Therefore,  in  the  Ten  Best  contest,  we  ask  him  only 
to  show  us  his  best  efforts  for  the  year.  If,  in  that 
year,  they  are  better  than  those  of  his  fellows,  his 
efforts  will  be  honored. 

This  does  not  mean,  however,  that  we  believe  these 
and  other  award  winners  cannot  be  bettered  in  the 
future.  They  will  be,  as  surely  as  the  sun  rises.  And 
when  they  are,  the  ACL  will  still  be  there  in  the 
vanguard,  beckoning  both  the  victors  and  the  van- 
quished to  ever  finer  filming. 


THE    AMATEUR    CINEMA    LEAGUE,    Inc. 
Founded    in    1926   by    Hiram    Percy   Maxim 


DIRECTORS 


Joseph    J.    Harley,    President 
Ethelbert   Warfleld,    Treasurer 

C.    R.   Dooley 
Arthur    H.    Elliott 
John    V.    Hansen 


Ralph   E.  Gray,   V/cepresidenf 
James  W.  Moore,  Managing  Director 

Harold  E.  B.  Speight 
Stephen  F.  Voorhees 
Roy  C.  Wilcox 


The  Amateur  Cinema  League,  Inc.,  sole  owner  and  publisher  of 
MOVIE  MAKERS,  is  an  international  organization  of  filmers.  The 
League  offers  its  members  help  in  planning  and  making  movies.  It 
aids  movie  clubs  and  maintains  for  them  a  film  exchange.  It  has 
various  special  services  and  publications  for  members.  Your  member- 
ship   is   invited.    Six    dollars  a    year. 


AMATEUR     CINEMA    LEAGUE,    Inc..  420     LEXINGTON     AVE..   NEW   YORK     17,  N.  Y.,  U.S.  A. 


for  there  is  still  no  such  fixed  stand- 
ard. What  happened  was,  simply,  that 
so  many  competent  amateurs  took  to 
using  tripods  that  it  became  increas- 
ingly  difficult  to  foeat   their  standards. 

In  other  words,  the  more  good  movies 
amateurs  made,  the  higher  they  them- 
selves pushed  the  contest  standards. 
By  and  large,  this  up-grading  of  ama- 
teur production  may  be  traced  as  a 
steady  progression  through  the  years. 
But  not  always  or  inevitably  so.  For 
home  filmers.  like  ordinary  people,  are 
human  and  seem  to  have  their  ups  and 
downs.  There  have  been,  therefore,  oc- 
casional variations  in  this  steady  up- 
ward progress.  Which  brings  us  to  a 
third  point  concerning  the  contest. 

From  time  to  time,  as  our  selections 


for  each  new  year  are  seen  by  the 
cognoscenti,  we  hear  mutterings  around 
the  movie  clubs.  "Shucks."  this  guy 
will  say,  "I  don't  think  this  year's 
Maxim  Award  winner  (or  the  Ten  Best 
in  general )  is  near  as  good  as  last 
year's!"  This  may  very  well  be,  on 
occasion.  And  probably,  if  the  guy 
asked  our  opinion  on  this  point,  we 
too  would  agree  with  his  estimate.  But 
he  doesn't  ask  it.  He  simply  shrugs 
and  says:  "Boy,  the  ACL  sure  pulled 
a  boner  this  year!" 

What  this  expert  forgets  is  a  small 
point  of  fundamental  importance.  This 
is  that  the  entries  for  each  year  com- 
pete only  among  themselves.  They  can- 
not and,  in  our  judgment,  should  not 
be  competitively  evaluated  with  the  en- 


tries of  last  year,  two  years  ago  or 
two  years  hence.  They  represent  the 
amateur  movies  completed  during  the 
calendar  period  then  coming  to  a 
close.  Therefore  the  winners  among 
them  must  be  regarded  as  being  the 
Ten  Best  Amateur  Films  of  that  year. 
Whether  or  not  they  are  better  than, 
lesser  than  or  equal  to  the  Ten  Best 
of  former  years  does  not  enter  into 
the  judging  of  the  current  year's  crop. 
Broadly  speaking,  the  ACL  looks 
for  and  usually  finds  a  rewarding 
progress  from  year  to  year.  But  if  it 
isn't  there,  on  occasion,  we  still  have 
to  judge  what  is.  Esthetically.  we  regret 
a  retrogression  as  much  as  the  next 
person.  But  competitively  we  try  not  to 
let  this  becloud  our  judgment. 


EVERYTHING  YOU  NEED 


TO  MAKE  BETTER  FILMS 


HERE'S  HOW  THE  AMATEUR  CINEMA  LEAGUE 
CAN  HELP  YOU  with  your  filming  interests  just 
as  it  has  advised  and  aided  more  than  100,000 
other  movie  makers: 

AS  A  MEMBER  YOU    RECEIVE 

1-The  ACL  MOVIE  BOOK  -  the  finest  guide  to 
8mm.  and  16mm.  movie  making.  311  pages  of 
information  and  over  100  illustrations.  This 
guide  sells  for  $3.00! 

2-MOVIE  MAKERS  -  the  ACL's  fascinating, 
friendly,  up-to-the-minute  magazine  —  every 
month.  Chock  full  of  ideas  and  instructions  on 
every  aspect  of  movie  making. 

PLUS  THE  FOLLOWING  LEAGUE  SERVICES 


■      o      •      5      t     s     .m      s      s      g     g     *      s 

9         8        &        C        L       j  ■ 

■          ■■tBBBSISIISe 

"  j 

I        I        I         C      -  S 

BS*SB!ilfiEiE£ 

llfrf 

e         S         S         a        B      j 

■ 

THE  ACL  MOVIE 

BOOK 

AMATEUR    CINEMA    LEAGUE,   INC. 


Continuity  and  Film  Planning  Service  .  .  .  planning  to  make 
a  movie  of  your  vacation?  of  your  family?  The  ACL's  con- 
sulting department  will  work  up  film  treatments  for  you,  full 
of  specific  ideas  on  the  planning,  shooting  and  editing  work. 
Special  forms  are  available  to  help  you  present  your  ideas 
to  the   consulting   department. 

Club  Service  .  .  .  want  to  start  a  club?  The  ACL  club  depart- 
ment will  give  you  helpful  tips  based  on  experience  with  clubs 
around  the  world  for  more  than  23  years. 

Film  Review  Service  .  .  .  you've  shot  your  film  and  now  you 
want  to  know  how  it  stacks  up?  Are  there  sequences  in  it 
that  you're  not  quite  sure  of?  Any  8mm.  or  16mm.  film  may 
be  sent  to  the  ACL  at  any  time  for  complete  screening,  de- 
tailed criticism   and  overall   review. 

Booklets  and  Service  Sheets  .  .  .  service  sheets  on  specific 
problems  that  you  may  come  up  against  are  published  at 
intervals.  They  are  yours  for  the  asking.  Current  booklets 
are:  The  ACL  Data  Book;  Featuring  The  Family;  Building  a 
Dual  Turntable. 


ALL  THIS  IS  YOURS  FOR  ONLY  $6.00  A  YEAR! 

(less  than  the  price  of  a  roll  of  color  film) 


EXTRA  -  NOW     AVAILABLE! 

Official  League  leaders  in  full  color! 

Official    League   lapel    pins   for   you 
to  wear! 

Official  League  stickers  for  all  your 
equipment! 


I 


4-51 
AMATEUR    CINEMA    LEAGUE,    Inc. 
420    Lexington    Avenue 
New  York    17,  N.  Y. 

I  wish  to  become  a  member  of  the  ACL,  receiving 
the  ACL  MOVIE  BOOK,  Movie  Makers  monthly,  and 
all  the  League  services  for  one  year.  I  enclose  re- 
mittance for  $6  (of  which  $2  is  for  a  year's  sub- 
scription to  Movie  Makers)  made  payable  to  Amateur 
Cinema    League,    Inc. 


|       Name- 
Street. 
I       City — 


Zone_ 


_State. 


Brownie  Movie  Camera 

This  new  camera  brings  to  8mm.  movies  a 
simplicity  and  economy  comparable  to  that 
the  Brownie  box  cameras  brought  to  snap- 
shots. Its  prefocused  f/2.7  lens  and  sprocket- 
less  loading  make  for  easiest  movie  making 
...  its  low  price  and  real  film  economy  cut 
costs  w-a-y  down.  The  price — only  $47.50. 


Cine-Kodak  Reliant  Camera 

Another  economical  8mm.  movie  maker,  avail- 
able in  a  choice  of  two  models.  Both  offer 
easy,  sprocketless  loading;  built-in  exposure 
guide;  "slow  motion."  Both  accept  telephotos 
.  . .  both  can  be  converted  for  wide-angle 
filming.  With  prefocused  f/2.7  lens,  $79  .  .  . 
with  faster,  focusing  f/1.9  lens,  $97.50. 


Cine-Kodak  Magazine  8  Camera 

Handiest  to  use  of  all  8mm.  cameras,  it  loads 
in  3  seconds  with  film  in  pre-threaded  maga- 
zines. Makes  slow-motion  movies  .  .  .  takes 
telephotos.  Built-in  guide  solves  all  exposure 
problems,  indoors  and  out.  The  "Magazine 
8"  with  prefocused  f/2.7  lens,  $127.50... 
with  focusing  f/1.9  lens,  $147.50. 


A 


THERE'S  A  KODAK  MOVI 


/ 


From  the  new  "Brownie,"  for  those  looking  for  the  ut- 
most simplicity  and  economy  in  movie  making  ...  to  the 
superb  Cine-Kodak  Special  II,  acknowledged  camera  leader 
among  expert  cinematographers — one  of  these  Kodak 
movie  cameras  is  ideally  suited  to  your  purposes.  See  them 
all . . .  and  make  your  selection ...  at  your  Kodak  dealer's. 


EASTMAN  KOQAK  COMPANY,  Rochester  4,  N.  Y. 


All  prices  include  Federal  Tax  and  are 
subject  to  change  without  notice. 


^j 


Cine-Kodak  Royal  Magazine 
Camera 

IBere's  a  new  camera  that  really  has  every- 
thing. Superb  Kodak  Cine  Ektar  f/1.9  Lens 
makes  large,  sharply  detailed  16mm.  movies. 
Magazine  load,  single-frame  release,  ex- 
posure guide,  enclosed  finder  that's  adjust- 
able for  any  of  11  accessory  lenses.  $192.50. 


Cine-Kodak  Special  II  Camera 

This  most  versatile  of  all  16mm.  cameras  has 
every  control  needed  for  such  special  effects 
as  fades,  dissolves,  mask  shots,  multiple  ex- 
posures, and  many  others.  Comes  with  either 
an  f/1.9  or  f/1.4  Ektar  Lens  ...  and  a  100- 
or  200-foot  film  chamber.  From  $898.50. 


TRAQE-MARK 


THE    MAG 


FILMING   FOR  TV   •   IMPROVED   WIRE   TECHNIQUES   •    A  SOUND   SURVEY 


NEW  ACL  PIN  YOU'LL  BE  PROUD  TO  WEAR 
AND  NEW  DECALS-NOW  AVAILABLE! 


THE  NEW  ACL  PIN 

Lettered  in  gleaming  metal*  on  a  center  of  rich  blue 
and  an  outer  circle  of  warm  red,  the  ACL  pin  is  one 
you'll  be  proud  to  wear.  It's  l/2"  in  diameter  and 
comes  in  two  types:  screw-back  lapel  type  or  pin- 
back  safety  clasp.  $1.25  each,  tax  included. 


THE   NEW  ACL  DECALS 

Similar  in  design  and  coloring  to  the  pin,  the  ACL 
decals  are  as  practical  as  they  are  beautiful.  Identify 
your  camera  and  projector  cases,  gadget  bag,  film 
cans  with  this  proud  insignia.  21/4"  by  3".  $.25  each, 
or  5  for  $1.00. 


AMATEUR    CINEMA    LEAGUE,    Inc.  5_51 

420    Lexington  Ave.,    New   York    17,    N.    Y. 

As  a  member  of  the  Amateur  Cinema  League,  I  am 
entitled  to  wear  the  new  handsome  membership  pin 
and  to  use  the  colorful  decals.  I  enclose  my  check  or 
money   order   for: 

—  PINS  n  screw_back  lope' ,vpe        at  S1.25 

D  pin-back    safety    clasp   type        each 

tax  inc. 
DECALS    ot  $.25  each  or  5  for  $1.00 


NAME 


.ZONE STATE. 


AMATEUR  CINEMA  LEAGUE,  INC. 
420  Lexington  Avenue,  New  York  17,  N.  Y. 

TO  ALL  ACL  MEMBERS: 

\our  many  letters  asking  for  a  membership  pin  and 
decals  have  poured  into  the  League  offices  ever  since  the 
idea  was  born  in  the  fertile  mind  of  an  ACL  member. 

BOTH  PINS  AND  DECALS  ARE  NOW  AVAILABLE! 

No  effort  was  spared  in  designing  and  producing  the 
finest  membership  pin  obtainable.  It's  a  handsome  in- 
signia (%"  m  diameter)  that  you'll  be  proud  to  wear. 
A  center  of  rich  blue  enamel  sets  off  the  letters  "ACL," 
sharply  cast  in  burnished  metal.*  An  outer  circle  of 
warm  red  enamel  carries  the  legend  "MEMBER — 
AMATEUR  CINEMA  LEAGUE"  in  the  same  sparkling 
metal.  But  you'll  have  to  see  this  pin  to  appreciate  its 
beauty  .  .  .  We're  enthusiastic  about  its  elegance! 

Wearing  the  ACL  pin  at  all  times  will  give  fellow 
members  and  others  the  opportunity  to  recognize  you 
immediately  as  a  member  of  the  world  wide  association 
of  amateur  movie  makers — the  ACL.  You,  in  turn,  will 
spot  other  members  at  home,  on  location,  on  vacations, 
at  club  meetings,  anywhere! 

The  pin  is  available  in  two  types:  the  screw-back  lapel 
type  for  your  suit  and  overcoat,  and  the  pin-back  safety 
clasp  type  suitable  for  wear  on  your  shirt,  sweater,  dress, 
blouse,  jacket,  windbreaker,  etc.  You  may  order  one  or 
both  types — $1.25  each  for  either  pin. 

The  decal,  carrying  out  the  same  rich  color  scheme  of 
the  pin,  has  many  practical  uses.  Its  21/4"  by  3"  size 
gives  you  ample  room  to  letter  in  your  name  and  address 
for  identification  of  your  equipment.  You  can  apply  it 
to  your  camera  and  projector  cases,  gadget  bag,  film 
cans,  on  your  car  or  home  windows,  or  any  other  smooth 
surface  you  wish.  Two  ACL  decals  will  be  mailed  to  you 
with  our  compliments.  Additional  decals  may  be  ordered 
at  $.25  each  or  5  for  $1.00. 

With  the  ACL  pin  and  decals  you  can  now  "exhibit" 
your  interest  in  movie  making,  making  yourself  known 
at  a  moment's  notice  to  other  League  members,  and  hav- 
ing others  recognize  you  as  a  filmer  with  standing.  I 
know  you'll  want  to  place  your  order  for  pins  and  addi- 
tional  decals — right  now! 

Cordially, 


JAMES  W.  MOORE 
Managing  Director 


BECAUSE  of  the  Federal  ban  on  all  non-defense  uses  of  copper,  ACL 
pins  are  now  gold-plated  on  a  sterling  silver  base.  This  has  required 
a    slight    price    increase— from    $1.00    to    $1.25    each. 


29  1951 


MOVIE    MAKERS 


B  ?    30 411  & 


143 


Late  releases 


H  Forty  Thieves,  six<  reels,  16mm. 
sound,  black  and  white,  is  distributed 
by  Commonwealth  Pictures  Corporation, 
723  Seventh  Avenue,  New  York  19, 
N.  Y.  This  is  another  Hopalong  Cassidy, 
featuring  William  Boyd,  with  the  odds 
forty  to  one.  But  Hoppy  outsmarts  the 
desperate  gunmen  in  his  usual  inimi- 
table style.  Andy  Clyde  is  in  there 
again  as  Hoppy's  pal. 

■  Biography  of  a  Fish,  one  reel,  black 
and  white,  16mm.  sound,  is  obtainable 
from  Sterling  Films,  Inc.,  316  West  57th 
Street,  New  York  19,  N.  Y.  Filmed 
underwater,  this  educational-scientific 
short  subject  treats  of  the  private  life 
of  the  male  stickleback,  one  of  the  stran- 
ger denizens  of  the  deep,  which  is  part 
time  mother  as  well  as  father  to  its 
progeny.  The  film  sells  for  $30.00. 

B  Oil  Today  —  Power  Tomorrow,  one 
600  foot  reel,  16mm.  color,  sound,  on 
sale  ($99.00)  from  Frith  Films,  1816 
North  Highland,  Hollywood  28,  Calif., 
presents  the  dramatic  story  of  oil.  Aimed 
at  upper  elementary  and  junior  high 
school  classes  as  a  teaching  aid,  the 
film  would  also  be  of  interest  to  individ- 
uals and  businesses.  The  story  is  told 
through  the  central  figure  of  a  13  year 
old  boy  and  his  reactions  to  this  noisy, 
fabulous  industry.  Study  guides  are 
available  for  teacher  use.  No  rentals. 


B  The  MacArthur  Report,  available  in 
8mm.  and  in  16mm.  silent  and  sound 
editions,  is  released  by  Castle  Films, 
Division  of  United  World  Films,  Inc., 
1445  Park  Avenue,  New  York  City.  It 
records  the  highlights  of  MacArthur's 
career  in  various  military  theatres  and 
includes  events  of  the  present  con- 
troversy. 


Why  M  Own  the  Best! 


For  home  movies  of  theatrical 
quality,  try  the  new  "Cine -Voice" 
16mm  Sound- On- Film  Camera. 
Shoot  full -color  or  black  &  white. 
Now  you  can  enjoy  your  own 
High- Fidelity    talking  pictures! 


$695.00  with  a  30-day 
money-back  guarantee. 
You  must  be  satisfied. 
Write  today  for  free 
illustrated  "Cine- Voice" 
folder  describing  this 
newest  achievement 
in    16   mm    cameras. 


BMIDT-BAOH,  Incorporated 

7383  Beverly  Blvd.,  Los  Angeles  36,  Calif. 

MANUFACTURERS   OF   SOUND-ON  -  FILM    RECORDING    EQUIPMENT   SINCE   1931 


144 


MAY    1951 


«S* 


The  demand  for  better  movies  for 
televising  offers  a  profitable  new 
field  for  your  talents.  You  can 
learn  the  special  techniques 
required  in  the  new  book: 

MOVIES 
FOR  TV 

By  John  Battison 


Full  of  valuable  ideas  and  information  for 
movie-makers,  this  book  explains  the  opera- 
tion, special  advantages  and  disadvantages, 
and  comparative  costs  of  all  leading  cameras, 
projectors,  film  splicers  and  editing  reels, 
lighting  equipment,  lenses,  animation  stands, 
optical  printers  and  all  other  equipment.  It 
tells  you  what  types  of  movies  are  good  on 
TV  and  which  are  not,  and  why.  It  shows 
how  to  pick  a  good  outdoor  location;  how 
to  light  indoor  scenes;  what  types  of  scenery 
and  colors  are  best;  how  to  make  dissolves, 
superimpositions,  fades,  animated  letters  and 
all  kinds  of  special  effects;  how  to  use  film 
clips;  how  to  make  good  newsreels;  what 
types  of  commercials  have  proved  most  suc- 
cessful —  altogether  a  wealth  of  wonderful 
ideas  for  movies  of  any  kind  and  a  complete 
guide  to  the  special  techniques  and  equip- 
ment of  movies  for  TV. 


ass? 


PHOTOGRAPHIC 

UP1  1(5  By  Allen  Greenleaf 

Here,  for  the  first  time  in  the  practical 
terms  needed  by  the  photographer,  is  full, 
reliable,  unbiased  information  on  the  con- 
struction and  the  particular  merits  and  defi- 
ciencies of  all  types  of  photographic  lenses 
being  manufactured  today.  You'll  learn,  for 
instance,  the  exact  meaning  of  lens  classifica- 
tion; what  is  meant  by  an  anastigmat  lens 
and  what  designates  a  superior  one;  how  to 
test  a  lens  for  resolving  power  or  for  dis- 
tortion, coma  and  other  aberrations.  You'll 
also  learn  some  surprising  facts  about  ex- 
posure estimation  and  about  all  photographic 
equipment  related  to  lenses  and  focusing; 
and  you'll  have  a  clear  explanation  of  the 
basic  principles  of  photographic  optics.  With 
this  information,  much  of  it  not  heretofore 
generally  known,  you  can  be  SURE  of  choos- 
ing the  best  possible  lens  for  your  purposes. 


SEE  THEM  ON  APPROVAL 


The  Mocmillan  Co.,  60  Fifth  Ave.,  New  York  11 

Please  send  me  the  books  checked  below.  I 
will  either  remit  in  full  or  return  the  books 
in   10  days. 

□   Movies  for  TV  $4.65 

Q    Photographic  Optics  $5.00 

Signed    

Address    


■ 


THE  MAGAZINE  FOR 
8mm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


Late   releases 

The   reader  writes 

Closeups 

New    ACL    members 

Filming  the  bride 

Now  for  Nova   Scotia! 


May 
1951 

New  8mm.  and  16mm.  films    143 

145 

What  filmers  are  doing    147 

148 

Ormal  I.  Sprungman,  ACL    149 

Couriney  J.  Thomas    150 


Can  the  amateur  tie  into  television?       John  H.  Battison,  ACL    152 


Aim    for   the    camper! 

The  reproduction  of  sound:   1 

More   on    magnetic   recording 

Great  Britain   beckons 

The   personal   touch 

The   clinic 

News  of  the  industry 

Book   reviews 

Clubs 

The  broad  outlook 


Laurence  Critchell  153 

Gerard  Schoenwald,  ACL  154 

Warren  A.  Levett,  ACL  1  56 

Stanley  W.  Bowler,  F.R.P.S.  160 

Harry  Archer  162 

Aids  for  your  filming  163 

Reports  on  products  164 

168 

People,  plans  and  programs  170 

Editorial  174 


Cover  photograph  from  Nova  Scotia   Bureau  of  Information 

JAMES  W.  MOORE 
Editor 


DON  CHARBONNEAU 
Consultant  Editor 


ANNE  YOUNG 
Advertising  &  Production 


Vol.  26,  No.  5.  Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
League,  Inc.  Subscription  rates:  $3.00  a  year,  postpaid,  in  the  United  States  and 
Possessions  and  in  Argentina,  Bolivia,  Bra7.il,  Chile,  Cplombia,  Costa  Rica, 
Cuba,  Dominican  Republic,  Ecuador,  El  Salvador,  Guatemala,  Haiti,  Honduras, 
Mexico,  Nicaragua,  Panama,  Paraguay,  Peru,  Spain  and  Colonies,  Uruguay  and 
Venezuela;  $3.50  a  year,  postpaid,  in  Canada,  Labrador  and  Newfoundland; 
other  countries  $4.00  a  year,  postpaid;  to  members  of  Amateur  Cinema  League, 
Inc.,  $2.00  a  year,  postpaid;  single  copies  25£  (in  U.  S.  A.).  On  sale  at  photo- 
graphic dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3,  1879.  Copyright, 
1951,  by  Amateur  Cinema  League,  Inc.  Editorial  and  Publication  Office:  420 
Lexington  Avenue,  New  York  17,  N.  Y.,  U.S.A.  Telephone  LExington  2-0270. 
West  Coast  Representative:  Wentworth  F.  Green,  439  South  Western  Avenue, 
Los  Angeles  5,  Calif.  Telephone  DUnkirk  7-8135.  Advertising  rates  on  applica- 
tion. Forms  close  on  10th  of  preceding  month. 

CHANGE  OF  ADDRESS:  a  change  of  address  must  reach  us  at  least  by  the 
twelfth  of  the  month  preceding  the  publication  of  the  number  of  MOVIE 
MAKERS   with   which   it   is  to   take   effect. 


MOVIE    MAKERS 


145 


This  department  has  been  added  to  Movie  Makers 
because  you,  the  reader,  want  it.  We  welcome  it 
to  our  columns.  This  is  your  place  to  sound  off. 
Send  us  your  comments,  complaints  or  compli- 
ments. Address:  The  Reader  Writes,  Movie 
Makers,  420  Lexington  Ave.,  New  York  17,  N.  Y. 


VOTE   OF   CONFIDENCE 

Dear  Sirs:  Concerning  the  judging  of 
the  Ten  Best  films,  as  discussed  by  you 
in  April  Movie  Makers.  I  believe  that 
your  article  on  this  subject  was  very 
timely,  to  the  point  and  interesting.  It 
has  given  me  the  answers  I  always 
wanted. 

All  who  have  had  occasion  to  deal 
with  you  people  know  that  honesty  and 
integrity  are  synonymous  with  you.  I 
for  one  give  you  my  vote  of  confidence. 
I  feel  that  the  Ten  Best  contest  could 
not  be  in  better  hands. 

Harold  R.  Sloper,  ACL 
Richmond,  Calif. 

NO-TRIPOD   TEN    BESTER! 

Dear  Mr.  Moore:  It  was  with  great  de- 
light that  I  started  to  read  your  ex- 
cellent article,  Talking  of  the  Ten  Best, 
for  the  figures  certainly  indicated  that 
ACL  did  anything  but  discriminate 
against  story  films. 

However,  when  you  said:  "Today  it 
is  relatively  unlikely  for  a  hand-held 
film  to  place  among  the  Ten  Best,"  I 
darn  near  crawled  down  a  crack  in  the 
floor.  The  awful  truth  is  Nextdoor 
Neighbor  (a  1950  Ten  Best  winner — 
Ed. )    was  NOT  taken  on  a  tripod! 

Esther  S.  Cooke.  ACL 
Albany,  N.  Y. 

The  more  credit  then  to  Ten  Best  winner 
Cooke!  Her  statement  seems  to  prove 
still  further  the  impartiality  of  the 
League's  board  of  judges,  for  no  one  of 
them  can  now  recall  any  unpleasant  cam- 
era movement  in  her  lively  study  of 
Mexican  life. 

HAS   NO   AUDIENCE 

Dear  Mr.  Moore:  In  re  your  editorial 
.  .  .  TV  may  be  the  cause,  or  one  of 
them;  but  I  still  maintain  that  the  in- 
herent weakness  of  amateur  movies  is 
that  after  a  man  has  made  a  creditable 
movie  he  has  no  audience. 

Then,  when  he  is  confronted  with  the 
necessity  of  putting  narrative  and  music 
to  his  "epic,"  he  immediately  places 
his  work  in  competition — whether  he 
wants  to  or  not — with  professionally 
made  pictures  on  which  thousands  of 
dollars  have  been  spent  in  the  making 
compared  to  his  dimes  .  .  .  He  just  can't 
do  it. 

Ralph  E.  Gray,  FACL 
San  Antonio,  Texas 


AMEN! 

Dear  Mr.  Moore:  Let  me  say  "Amen" 
to  your  editorial  (Which  Do  You 
Choose?)  in  the  March  issue  of  Movie 
Makers. 

I  have  always  insisted  that  movie 
making  was  an  art,  and  art  of  any  kind 
doesn't  just  happen.  It  has  to  be  cre- 
ated. Thus,  anything  which  destroys 
that  creativeness  should  be  avoided  like 
the  plague.  Anyone  who  embarks  on 
the  road  to  movie  making  and  then 
turns  aside  for  something  as  trivial  as 
television  is  merely  trading  his  birth- 
right for  a  mess  of  pottage. 

And  so,  to  your  question  "Which  Do 
I  Choose?"  list  me  among  the  movie 
makers ! 

Al  Morton,  FACL 
Salt  Lake  City,  Utah 

ADD   MY  TWO   CENTS 

Dear  Mr.  Moore:  May  I  add  my  two 
cents  to  the  controversy  regarding  TV 
versus  movie  making? 

We  have  had  our  television  set  for  the 
past  four  years  and  at  no  time  did  we 
let  it  interfere  with  our  movie  making. 
Aside  from  the  filming.  I  am  an  active 
member  of  the  Brooklyn  Amateur  Cine 
Club.  ACL.  and  this  year  served  as 
program  chairman — which  entailed  end- 
less nights  of  correspondence  and  phone 
calls  to  arrange  interesting  programs 
for  our  members  and  guests. 

It  just  seems  to  me  that  if  a  person 
is  a  dyed-in-the-wool  movie  maker,  he 
won't  let  anything — not  even  TV — in- 
terfere with  his  hobby. 

Bert  Seckendorf.  ACL 
Brooklyn,  N.  Y. 

MORE   ON    EMULSIONS 

Dear  Sirs:  I  was  interested  in  the  let- 
ters concerning  English  and  American 
Kodachrome.  Although  I  have  not  been 
able  to  compare  the  two,  I  have  tested 
the  16mm.  Super  X  black  and  white  of 
both  English  and  American  make. 

In  bright  sunlight  there  is  no  differ- 
ence in  the  result.  But  in  dull,  heavy 
weather  the  American-made  film  is  far 
superior  in  quality,  being  much  brighter 
and  more  sparkling.  I  am  told  this  is 
due  to  the  amount  of  silver  used,  but 
cannot  vouch  for  this. 

Kenneth  Prior,  ACL 
Burnley,  England 

Dear  Movie  Makers:  I  think  it  advis- 
able to  complete  the  information  given 
by  Douglas  A.  Johnston.  ACL,  on  the 
lower  sensitivity  of  Kodachrome  made 
in  England. 

Here  in  Europe,  besides  the  English- 


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146 


MAY    1951 


With  Your  SILENT  Camera 
and  a  Recorder 


~r~ 


Now  you  can  take  movies  AND  operate  a  tape  or 
wire  recorder  in  those  "far  away  places"  where 
ONLY  storage  battery  power  is  available.  In  places, 
too,  where  you  can  "plug  in"  only  on  DIRECT  cur- 
rent. Thanks  to  the  NEW  *Carter  BR1016CW4 
Converter,  this  entirely  new,  fascinating  field  is  now 
wide  open  for  home  movie  fans  who  want  tape  or 
wire  recorded  SOUND  with  their  pictures  regardless 
of  location  problems. 

Think  of  the  possibilities.  Cover  sports  events,  trips 
to  parks,  camps,  the  open  country,  on  ship  board. 
Now  wherever  SOUND  is  heard  you  can  produce 
"SOUND"  movies.  All  you  need  is  your  silent 
camera,  a  recorder,  and  a  ^CARTER  CONVERTER, 
operating  from  a  12  volt  battery.  (Other  models 
available  for  24,  28,  32,  or  115  DC  input.)  Entire 
equipment,  including  battery,  takes  less  space  than 
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back quality  may  be  obtained  by  regulating  converter 
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made  Kodachrome,  there  is  also  a  Koda- 
chrome made  in  France  which,  like  its 
English  counterpart,  has  a  Weston  speed 
of  6.  But  the  big  difference  appears  in 
the  Kodak  Super  X  made  in  France, 
which  has  a  Weston  rating  of  12  instead 
of  32  as  with  the  American  brand.  The 
American  tourist  should  keep  this  in 
mind  when  purchasing  film  abroad. 

Edoardo  Scotti,  ACL 
Milan,  Italy 

FIRST   TIME    IN    HISTORY! 

Dear  Mr.  Charbonneau:  I  know  that 
Mr.  Elser  has  written  thanking  you  for 
judging  our  recent  contest  films.  How- 
ever, all  members  of  the  Grand  Rapids 
Club  were  so  pleased  with  the  results 
that  we  want  to  express  our  thanks  too. 

For  the  first  time  in  the  history  of 
our  club,  everyone  agreed  with  the 
judge!  We  all  thought  your  criticisms 
were  reasonable  and  were  very  much 
impressed  with  your  detailed  analysis 
of  each  film.  You  have  helped  us  im- 
measurably and  we  are  grateful. 

Dorothy  Yung 

Cor'spd.  Secretary 

Grand    Rapids    Amateur    Movie    Club. 

ACL 
Grand  Rapids,  Mich. 

If  we  know  movie  clubs,  you'd  better 
mark  that  day  in  red  .  .  .  Seriously,  though, 
the  same  careful  and  considerate  contest 
judging  by  ACL  is  available  to  every 
amateur  movie  club  which  holds  a  League 
membership  in  the  name  of  the  club. 


In  this  column  Movie  Makers  offers  its  readers 
a  place  to  trade  items  of  filming  equipment  or 
amateur  film  footage  on  varied  subjects  directly 
with  other  filmers.  Commercially  made  films  will 
not  be  accepted  in  swapping  offers.  Answer  an 
offer  made  here  directly  to  the  filmer  making  it. 
Address  your  offers  to:  The  Swap  Shop,  c/o 
Movie  Makers. 


Address- 
City 


WANTED:    A   PEN    PAL 

Dear  Sirs:  Being  an  amateur  cinema- 
tographer,  I  should  like  to  correspond 
with  someone  who  is  interested  in  movie 
making  too — and  lots  of  other  things. 

I  am  33  years  old,  a  tradesman  by 
profession  and  an  ex-Army  sergeant. 
I  live  in  a  village  near  Utrecht  in  the 
middle  of  Holland,  like  sports,  the 
cinema  and  music,  both  modern  and 
classic.  Hoping  to  hear  from  you  soon. 
Mr.  L.  Schotemeyer 
Soestdykerstraatweg  3 
Den  Dolder,  Holland 

IN    OR   AROUND   EXETER 

Dear  Friends:  May  I  take  this  oppor- 
tunity to  mention  that  I  am  willing 
to    undertake    any    filming     (in    Koda- 


chrome or  monochrome)  of  London,  the 
Cathedral  City  of  Exeter,  or  anywhere 
in  glorious  Devon  or  Cornwall  for  fel- 
low  members    of   the   ACL? 

I  would  point  out  that  owing  to  re- 
strictions and  heavy  duties  on  film  im- 
ported into  this  country,  it  would  be 
best  to  remit  for  the  cost  of  the  films 
by  means  of  a  check.  .  .  .  Further,  if 
any  member  calls  at  Exeter  during  the 
Festival  of  Britain,  I  shall  be  delighted 
to  show  him  or  her  the  sights. 

Eric  W.  Barham,  ACL 
Mardon  Hall 
Exeter.  Devon,  England 


Questions  ^i 
iiiiiiiiiBszaiiiiiiiHim 

Answers 


Readers  are  invited  to  submit  basic  problems  of 
general  interest  for  answer  in  this  column.  Replies 
by  letter  to  individuals  must  be  reserved  for  mem- 
bers of  the  Amateur  Cinema  League.  Address: 
Questions  &  Answers,  c/o  Movie   Makers. 


WHAT'S   THE   SPEED? 

Dear  Movie  Makers:  I  have  some  in- 
door scenes  coming  up  for  filming  in 
which,  of  necessity,  there  will  be  a  good 
deal  of  daylight  mixed  with  the  artificial 
illumination. 

I  understand  that  these  can  be  shot 
successfully  on  Daylight  Kodachrome 
under  the  light  of  blue-glass  photofloods. 
But  what  I'm  not  sure  of  is  (1)  whether 
I  should  use  the  corrective  filter  for  flood 
lighting,  and  (2)  what  the  correct  film 
speed  will  be  for  Daylight  Kodachrome 
used  in  this  way. 

Paul  W.  Harrison 
Des  Moines,  Iowa 

(1)  Do  not  use  the  corrective  filter  un- 
der these  circumstances,  since  the  blue 
glass  of  the  bulbs  has  already  filtered  this 
artificial  illumination  of  excess  red  and 
orange  light. 

(2)  The  film  speed  of  the  Daylight  Koda- 
chrome remains  the  same  as  it  would  be 
outdoors  (Weston  8  or  ASA  10),  since  it 
is  the  use  of  the  filter,  not  simply  exposing 
the  film  under  artificial  light,  which  cuts 
down  its  sensitivity. 

PROJECTING   SLOW   MOTION 

Dear  Q  &  A:  I  have  heard  that  shooting 
at  24  or  even  32  frames  per  second  from 
a  moving  car  or  train  is  a  good  way  to 
iron  out  the  camera  jiggles.  If  I  do  this, 
is  it  then  necessary  to  project  that  por- 
tion of  the  picture  at  the  same  speed? 
Manville  H.  Mansard 
Sacramento,  Calif. 

By  no  means.  Any  picture  projected  at 
the  same  speed  at  which  it  was  taken — no 
matter  what — will  create  movement  on 
the  screen  exactly  similar  to  that  gained 
by  shooting  and  projecting  at  the  normal 
16  fps.  Therefore,  shoot  these  scenes  at  24 
or  32  fps,  but  project  them  at  16  fps  as 
usual. 


MOVIE   MAKERS 


147 


Closeups— What  filmers   are  doing 


On  the  Cover:  That's  Peggy's  Cove 
the  man's  painting.  And.  before  one  or 
more  of  our  well  traveled  readers  writes 
in  that  something's  cockeyed  about  the 
scene,  here's  the  secret.  For  the  sake  of 
compositional  balance  with  the  cover's 
masthead,  something  is  cockeyed:  we 
had  the  engraver  reverse  the  shot  from 
right  to  left.  In  other  words,  the  fishing 
shacks  normally  are  on  the  left,  the 
lobster  pots  on  the  right,  as  you  look 
out  to  sea.  That's  why,  of  course,  the 
man  is  painting  left-handed.  Thought 
you  ought  to  know. 

Aside  from  his  playing  guitar  in  a 
college  band,  we  have  been  unable  to 
find  anything  in  the  background  of 
Gerard  Schoenwald,  ACL,  to  account 
for  his  deep  interest  in  and  knowledge 
of  the  science  of  sound.  Just  a  hobby 
with  him,  he  says,  along  with  a  ten- 
year  devotion  to  music  of  all  kinds.  For 
a  rewarding  result  of  this  hobby,  see 
his  Reproduction  of  Sound,  a  series 
which  begins  on  page  154  of  this  issue. 
Naturally.  Mr.  S.  is  interested  also  in 
amateur  movies.  Born  and  educated  in 
Berne,  Switzerland,  he  has  been  in  the 
United  States  for  two  years,  serving  as 
a  technical  consultant  on  the  New  York 
headquarters  staff  of  Paillard  Products. 
Inc.  It  should,  therefore,  surprise  ab- 
solutely no  one  to  learn  that  he  uses 
a  Bolex  camera. 

Being  a  firm  believer  in  the  equity  of 
airing  both  sides  of  a  question,  we 
decided — after  our  attack  on  television 
in  Which  Do  You  Choose? — to  give  the 
TV  disciples  their  day  in  court.  So-o-o, 
on  page  152  you  will  find  John  H.  Bat- 
tison,  ACL,  presenting  the  pro  side  of 
the  amateur-and-television  controversy. 
We  doubt  if  we  could  have  assigned 
the  case  to  a  better  advocate.  Mr.  Bat- 
tison  is  the  recent  author  of  Movies  For 
TV,  a  book  which  is  reviewed  on  page 
168;  an  associate  editor  of  Tele-Tech 
Magazine,  and  a  member  of  both  the 
British  and  American  Institutes  of 
Radio  Engineers.  During  the  past  cou- 
ple of  years,  he  also  has  been  conduct- 
ing courses  at  New  York  University  on 
Films  in  Television,  TV  Station  Opera- 
tion, and  so  on  .  .  .  We  try  always  to 
bring  you  the  best. 

A  couple  of  long-standing  Canadian 
friends  of  ACL  dropped  by  headquar- 
ters last  month — each  of  them  a  once- 
competent  amateur  filmer,  each  of  them 
a  now-competent  professional  user  of 
the  same  talents. 

Earl  Clark,  of  Toronto,  should  be 
known  to  readers  of  this  journal  for  his 
articles  on  exposure,  composition  in  col- 
or, filming  Alaska  and  the  like.  A  Ten 
Best  winner  in  1939  with  Then  Came 


the  King,  Clark  tried  to  compete  again 
in  1940  with  To  the  Valiant,  but  the 
war  had  intervened.  Almost  since  that 
time  he  has  been  a  director  on  the  staff 
of  Associated  Screen  News,  Canada's 
largest  film   producers. 

And  Tom  J.  Courtney,  of  Halifax, 
could  be  known  to  observant  users  of 
the  ACL's  Club  Film  Library.  For  his 
1938  and  1939  Ten  Best  winners, 
Riches  from  the  Sea  and  Royal  Visit — 
Halifax  1939,  still  are  popular  pictures 
in  that  collection.  Courtney  now  uses 
his  camera  skills  as  part  of  his  many- 
sided  job  as  director  of  the  Nova  Scotia 
Bureau  of  Information.  It  might  be.  in 
fact,  that  one  or  more  of  the  shots  on 
pages  150  and  151  are  his. 

On  a  recent  visit  to  New  York,  Major 
William  A.  Anderson,  ACL,  of  Wash- 
ington, D.  C,  stopped  by  to  tell  us  about 
his  trials  and  triumphs  during  the  shoot- 
ing of  The  Monarch  Butterfly  Story.  For 
example,  a  single  sequence  of  the  cater- 
pillar moulting  required  seventeen  hours 
of  continuous  watching  by  the  diligent 
major  and  his  wife,  Claire. 

Filmed  during  the  summers  of  1949- 
50,  the  production  employed  two  Bolex 
H-16  cameras,  an  array  of  Cine  Ektar 
lenses,  a  set  of  extension  tubes  up  to 
7%  inches  in  length  and  a  time  lapse 
device  Major  Anderson  designed  and 
constructed  specifically  for  this  film. 
The  picture  has  already  attracted  t'  e 
attention  of  Encyclopaedia  Britannica 
Films  who  have  contracted  for  the  dis- 
tribution rights. 

Major  Anderson  had  barely  left  when 
Mrs.  Bernadette  Hunt,  ACL,  of  Chicago, 
came  in  to  tell  us  about  another  butter- 
fly film.  Dealing  with  the  same  species, 
this  picture  was  called  Nature  and  the 
Monarch  Butterfly  and  had  been  pro- 
duced by  Leon  F.  Urbain.  a  member, 
with  Mrs.  Hunt,  of  the  Chicago  Cinema 
Club.  ACL.  His  picture  has  also  gar- 
nered a  variety  of  honors,  including  first 
prize  in  a  television  program.  Reel  Ad- 
venture, on  WGN-TV. 

People  and  Places:  Now  Europe- 
bound  is  Allen  G.  Roach,  ACL,  of  Alta 
Vista,  Va.,  who  plans  spending  most  of 
his  time  in  Israel  and  the  Middle  East. 
.  .  .  Everett  A.  R.  Searl,  ACL,  of  Chevy 
Chase,  Md.,  will  be  close  on  Mr.  Roach's 
heels.  Mr.  Searl  sets  out  this  month  for 
an  extended  European  tour  that  will 
bring  him  back  to  the  States  some  time 
next  year.  ...  A  note  just  received 
from  Mrs.  A.  W.  (Dicky)  Roth,  ACL, 
of  New  York,  reveals  her  plans  for  a 
visit  to  the  Scandinavian  countries  this 
spring.  Mrs.  Roth  recently  recounted 
some  of  her  freighter  traveling  experi- 
ences in  an  article  for  the  February 
issue   of   Travel  magazine. 


RADIANT 

4-way^bettei 

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P   R  O  JI  C  T  I  O  N      S  (I  II  N  S 


148 


MAY    1951 


J.  Mitchell  Allee,  Ft.   Worth,  Texas 
L.  R.  Bradbury,  Oberlin,  Ohio 
Hal  F.  Corry,  Dallas,  Texas 
George  Dougherty,  jr.,  Bradford,  Pa. 
Caven  H.  Dunn,  Hamilton,  Canada 
Hubert  Fenton,  Greensville,  Canada 
Philip  Gralnick,  Forest  Hills,  N.  Y. 
Harold  M.  Henrich.  Ridgewood.  N.  J. 
J.   B.  Howell,   Valdosta,  Ga. 
H.  Hucker.  Burlington,  Canada 

D.  W.   McLean,  Hamilton,  Canada 
B.  A.  Myers,  Washington,  Ind. 

Dr.  0.  W.  Niemeier,  Hamilton,  Canada 

Fred  Badgham,  Verdun,  Canada 

E.  E.  Perkins,  Hamilton,  Canada 
B.  E.  Peterson,  Park  Ridge,  III. 

W.  M.  Raymond,  Klamath  Falls,  Ore. 

Charles  Sudnick,  c/o  PM,  New  York  City 

Ralph  Trouten,  Hamilton,  Canada 

George  H.  Vernon,  Iron  River,  Mich. 

T.  C.  Walz,  Riverside,  Conn. 

Westwood  Cine  Club,  West  Hartford,  Conn. 

Brennan  Wishner,   Washington,  Pa. 

H.  Yates,  Hamilton,  Canada 

Cdr.  Wallace  E.  Allen,  FPO,  San  Francisco, 

Calif. 
Roy  Larsgaard,  Fairview,  So.  Dak. 
Dr.  Paul  J.  Modica,  Buffalo,  N.  Y. 
Karl  H.  Monson,  Provo,  Utah 
Paul  H.  Nelson,  Gainesville,  Fla. 
I.  Irving  Vies,  D.  0.  S.,  Albany,  N.  Y. 
George  Walls,  Jacksonville,  111. 
Marvin  Zuckerman,  Bradford,  Pa. 

Lewis  M.  Austin,  Vineland,  N.  J. 
Irwin  J.  Cohen,  M.D.,  New  York  City 
Wm.  E.  Corbin,  Detroit,  Mich. 
W.  R.  Hampe,  Mt.  Prospect,  III. 
Wm.  Hochstein,  New  York  City 
Harold  Rau,  Sheridan,   Wyo. 
John  A.  Shultz,  Lancaster,  Pa. 
Martin  Smole,  Akron,  Ohio 
Dr.  R.  C.  Turk,  Hot  Springs,  Ark. 
Comte  Geoffroy  de  Failly.  Paris,  France 
Harriet  Duston,  Ridgewood,  N.  J. 
Kasper  Feuerhelm,  Merrill,  Iowa 
Frank  Illich,  Chicago,  III. 
Fred  Kelman,  Providence.  R.  I. 
M.  B.  Leinoff,  Yonkers,  N.  Y. 
Alfred  A.   Minx,  Portland,   Ore. 
Victor  A.  Norvill,  New  Britain,  Conn. 
Jack  V.  Sorter,  Bloomsburg,  Pa. 
Frank  H.  Wright,  Detroit,  Mich. 

J.  Leo  Bernard,  Montreal,  Canada 

Donald  E.  Brookshier,  Denton,  Texas 

Mendel  Kornbluth,  Scranton,  Pa. 

Mrs.  Dorothy  S.  Pollock,  Seattle,  Wash. 

Courtney  Ian  Redhill,  Springs,  South  Africa 

Paul  L.  Walker,  Wichita,  Kans. 

John    S.    Anderson,    M.D.,    Grand    Island, 

Neb. 
Arthur  M.  Atkinson,  Chicago,  III. 
L.  J.  Bertolotto,  Lead,  So.  Dak. 
Dr.  R.  E.  Biber,  Spartanburg,  S.  C. 
Louis  M.  Caserza,  Colma,  Calif. 
Nicholas  Consilio,  Irvington,  N.  J. 
Gilbert  M.  Halpern,  M.D.,  Honolulu, 

Hawaii 
Jaye  Parton,  Detroit,  Mich. 
Ernest  H.  Siegler,  Cleveland,  Ohio 
W.  Leonard  Solomon,  Cleveland,  Ohio 
Jay  H.  Thompson,  Brigham  City,  Utah 

Glen  T.  Antoine,  Albuquerque,  N.  M. 
Robert  H.  Ashton,  S.  Williamsport,  Pa. 
Major  John  W.  Cameron,  Hondo,  Texas 
Stuart  W.  Diess,  Detroit,  Mich. 
Lt.  M.  L.  Esposito,  USN,  FPO,  San  Fran- 
cisco,  Calif. 
I.  Mackenzie,  Johannesburg,  South  Africa 
Joe  S.  Matjasic,  Cleveland,  Ohio 
M.  J.  Visger,  Detroit,  Mich. 
Howard  Woods,  Kalamazoo,  Mich. 
A.  T.  Bartlett,  Brisbane,  Australia 
J.  M.  Edelman,  M.D.,  Brookline,  Mass. 
Walter  F.  Fischer,  Portland,  Ore. 
Andrew  C.  Kurczi,  Cleveland,  Ohio 
Henry  Levine,  Schenectady,  N.  Y. 
W.  Douglas  Maton,  Detroit,  Mich. 


A  warm  welcome  is  extended  to  all  of  the  new 
ACL  members  listed  below.  They  have  been 
elected  to  and  joined  the  League  since  our  last 
publication.  The  League  will  be  glad  to  forward 
letters  between  members  which  are  sent  to  us 
with   a  covering  note  requesting   such   service. 


Edwin  E.  Middleton,  M.D.,  Abilene,  Texas 
Sol.  F.  Oppenheimer,  Chicago,  III. 
Dr.  R.    W.  Parish,  Manitowoc,  Wise. 
Jack  M.  Sheppard,  Playas,  Ecuador 
F.  R.  Youmans,  Greenwood,  Ind. 
J.  D.  Bagri,  Calcutta,  India 
Joseph  Kress,  Birmingham,  Mich. 
Arnold  A.  Prince,  Wilber,  Neb. 
Carl  Slochower,  New  York  City 

Harold  B.  Bennett,  San  Antonio,  Texas 

E.  F.  Hager,  Middle  Village,  N.  Y. 
Dr.  G.  S.  Klassen,  Hillsboro,  Kans. 
Hyman  A.  Lubin,  Chicago,  III. 
Morton  A.  Roseman,  Hillside,  N.  J. 
Charles  N.  Schuh.  jr..  Bellerose,  N.  Y. 
Dr.  Philip  E.  Adams,  Boston,  Mass. 
Edward  Amaro,  Oakland,  Calif. 
Frank  Barnett.  New  York  City 

Harry  Carlson,  D.D.S.,  Sacramento,  Calif. 

R.  C.  Eckey,  New  London.  Iowa 

William  B.  Gross,  Culver  City,  Calif. 

Melvin  J.  Katsh,  Great  Barrington,  Mass. 

Evan  E.  Lytle,  Richland,  Wash. 

Peter  Micillo,  New  York  City 

Mark  A.  Penick,  Quincy,  III. 

Norman  Rittmueller,  Addison,  III. 

John  T.  See,  Passaic,  N.  J. 

Evansville  Movie  Club,  Evansville,  Ind. 

Ted  S.  Tanimoto,  Fairbanks,  Alaska 

J.  P.  Grainger,  Toronto,  Canada 
Ralph  M.  Hale,  Roanoke.  Va. 
Paul  Heller,  Brooklyn,  N.  Y. 

D.  L.  Hoover,  South  Bend,  Ind. 
Jess  Kimmel,  New  York  City 

Bert  B.  Krell,  No.  Hollywood,  Calif. 
Lucien    Laurin.    Quebec,    Canada 
K.  M.  Patterson,  Gladmar,  Canada 
Russell  R.  Preston,  Seattle,  Wash. 
Thomas  Whittle,  Montpelier,  Idaho 
George  Wright,  Linden,  N.  J. 
George   Feilmeier,   Huntington,   Neb. 

F.  J.  Francis,  Toronto,  Canada 
John  K.  Howard,  Coral  Gables.  Fla. 
Jack  R.  Leighton,  Springfield,  Ore. 
Samuel   E.  Reifsnyder,   West  Leesport,  Pa. 
Paul  F.  Osborn.  Biglerville,  Pa. 

J.  C.  Peter,  Washington,  D.  C. 

W.  Frank  Webb,   Washington,  D.   C. 

Dr.  L.  John  de  Albuquerque,  Detroit,  Mich. 
George  M.  Feild,  jr.,  Dallas,  Texas 
A.  E.  Puis,  Cleveland,  Ohio 
Clarence  P.  Ward,  Klamath  Falls,  Ore. 
Harry  Clay  Blaney,  jr.,  New  York  City 
Stanley  A.   Blejwas,  Brooklyn,  N.   Y. 
George  B.  Peterson,  Long  Beach,  Calif. 
P.  M.  Sasich,  Billings,  Mont. 
Anthony  A.  Torrini,  Trenton,  N.  J. 
Harold   Bronson,   Mound,   Minn. 
William  W.  Duncan,  Baltimore,  Md. 
Dr.  L.  M.  Durfee,  Minneapolis,  Minn. 

Leon  Goldberg,  Jackson  Heights,  N.  Y. 
Fred  T.  Jackson,  Adams,  Ore. 

E.  R.  Rasmussen.  Oswego,   Ore. 
Robert  P.  Ritter,  Detroit,  Mich. 
Howard  J.  Ruetenik,  Orwell,  Ohio 
John   Stafford,   Crawford,  Colo. 
Ernest  W.  Stanhope,  Madison,  Wise. 
Donald  Svec,  Parma,  Ohio 
Randall  Welsch,  Akron,   Ohio 
Frank  E.  Yasah,  New  York  City 
Stephen  Zdepski,  Milford,  N.  J. 


Hubert  Anderson,  Lake  Forest,  III. 

Oscar  R.  Davis,  Oklahoma  City,  Okla. 

Greg  Garrison,  New  York  City 

Sherman  J.  Lavigna,  Great  Neck,  N.  Y. 

R.  E.  Devor,  Scottsbluff,  Neb. 

George  R.  Dewhurst,  New  Bedford,  Mass. 

Paul  Geppert.  Detroit,  Mich. 

Mrs.  Agnes  Muehlbach,  Milwaukee.   Wise. 

W.  A.  Roben.  Seattle,  Wash. 

Hy  Schwartz,  Plainville,  Conn. 

Jose  Boaventura  do  Carmo  Sousa,  Lourenco 

Marques,  Portuguese  East  Africa 
Philip  V.  Weeks,  Ogden,  Utah 
John  C.  White.  Arlington.  Mass. 
Ernest  C.  Grivakis,  Baltimore,  Md. 
Capt.  E.  L.  Hales,  Seattle,  Wash. 
A.  Luthy,  Soleure,  Switzerland 
Arthur  Lustig,  Forest  Hills,  N.   Y. 
Michael  N.  Mallis,  Baltimore,  Md. 
J.  R.  Nic'hol,  Holliday,  Utah 
Arthur  Ray  Rogers,  Dunbar,  W.  Va. 

Morrison  Campbell,  Seattle.  Wash. 
Calvin  Clark,  Seattle,  Wash. 
D.  S.  Foster,  Indianapolis,  Ind. 
Memphis  Amateur  Movie  Club,  Memphis, 

Tenn. 
Jack  P.  Russell,  Cleveland,  Ohio 
Guy  C.  Sartor,  Seattle,  Wash. 
Mildred  D.  Schmidtman,  Seattle,  Wash. 
Russell  M.  Wicks,  Oak  Park,  III. 

G.  M.  Babst,  Kansas  City,  Mo. 
Pvt.  Clemon  V.  Clark,  jr.,  Camp  Pickett,  Va. 
Lt.  P.  N.  Coley,  San  Francisco,  Calif. 
Matty  Curcio,  Brooklyn,  N.  Y. 

A.  T.  Greenwood,  Gadsden,  Ala. 
Daniel  Harris,  New   York  City 
Edward   Heintz,   Toledo,  Ohio 
C.  O.  Hoen,  St.  Paul,  Minn. 
Gordon  Love,  Garland,  N.  C. 
Walter  Postlethwaite,  Leigh,  England 
Major  Hardin  E.  Ross,  Seattle,  Wash. 

Adair  J.  McDonell,  El  Paso,  Texas 

R.  M.  Anderson,  Rockford,  111. 

Ralph  C.  Dixon,  Hamilton,  New  Zealand 

Richard  Geffert,   Whiting,  Ind. 

Angelo  Hanes,  Salt  Lake  City,  Utah 

Uptown  Camera  Shop,  Moline,  III. 

LeMar  S.  Winegar,  Midvale,  Utah 

Albert  Ingham,  Maiden,  Mass. 

Dr.  Gerald  Rose,   Washington,  D.  C. 

C.  Schubert,  Hammond,  Ind. 

Louis  C.  Toutloff.  Jackson,  Mich. 

Lt.  Col.  I.  A.  Wiles,  Camp  Stoneman,  Calif. 

Tse  William,  Hong  Kong 

George  E.  Williams,  Hartford,  Conn. 

Karl  S.  Burchard,  San  Mateo,  Calif. 
Henrique  Fraccaroli,  Sao  Paulo,  Brazil 
Howard  C.  German,  Philadelphia,  Pa. 
Hector  E.  LaRiviere,  Waterbury,  Conn. 
Thorns   J.    McLoughlin.   Rockville    Centre, 

N.  Y. 
Stephen  Sherwin,  Broadview,  III. 
John  M.  Atcherson,  New  York  City 
Dr.  Joseph   G.  Dathan,  Stoke  on   Trent, 

England 
Carlos  Jacob,  Beccar  FNGBM,  Argentina 
Don  Snyder,  Toledo,  Ohio 
Samuel  S.  Smuk,  Dearborn,  Mich. 
George  H.  Wagner,  Toronto.  Canada 
Harry  Chemerow,  Kenosha,  Wise. 
Norman  B.  Cobb,  Tucson,  Ariz. 
Robert  H.  Hamilton,  Houston,  Tex. 

Jackson   Camera  Club,  Movie   Division, 

Jackson,  Mich. 
Syl  Labrot,  Boulder,  Colo. 
T.  C.  Martin,  Tulia,  Tex. 
Jack  Shelton,  Cheyenne   Wells,  Colo. 
Knud  Winkel,  Brooklyn,  N.  Y. 
Pete  C.  Zarilla,  Rochester,  Pa. 
R.  Gordon  Bishop,  Jamestown,  N.  Y. 
J.  W.  Burrows,  Edmonton,  Canada 
Dr.  Randel  F.  Whitton,  Oklahoma  City, 

Okla. 
C.  W.  Dunnet.  Cynwyd,  Pa. 
Frank  Gross,  Wilkes-Barre,  Pa. 
Jose   Langevin,   Whitehorse,  Canada 

B.  A.  Schwarz,  Kokomo,  Ind. 


149 


FILMING  THE   BRIDE 

Most  good  wedding  footage  is  filmed  before  or  after  the  main  event.  Start  planning  now 


WEDDINGS  are  made  to  order  for  the  color  cam- 
eraman. For  never  will  the  bride  seem  more  beau- 
tiful,  the  groom  more  handsome  and  the  event 
more  colorful  than  during  the  typical  June  wedding.  So 
don't  let  it  run  away  with  you. 

If  you  have  the  opportunity  to  film  a  summer  wedding, 
first  consult  with  the  bride-to-be  and  her  parents  regard- 
ing plans,  in  order  to  apportion  your  total  footage  ac- 
cordingly. Prior  to  the  event,  film  the  homes  of  both  par- 
ents and  work  in  some  informal  scenes  in  and  about  the 
gardens,  coming  in  for  unposed  closeups  of  the  parents. 
For.  if  the  bridal  couple  plan  to  live  in  another  part  of 
the  country,  these  intimate  personal  touches  from  back 
home  will  be  deeply  appreciated.  Finally,  don't  forget 
the  bridal  shower. 

Photograph  exteriors  of  the  church  and  its  spire, 
framed  by  droopy  branches,  and  step  inside  for  shots 
of  the  stained  glass  windows  and,  perhaps,  some  closeups 
of  the  organist  at  rehearsal  showing  his  fingers  on  the 
keys.  Film  the  minister  in  his  study,  too.  If  these  shots 
are  made  well  ahead  of  time,  the  cameraman  can  concen- 
trate on  the  guests  and  the  bridal  party  arriving  at  the 
church  at  the  time  of  the  wedding.  Don't  forget  to  shoot 
the  altar  flowers  and  other  decorations,  which  often 
escape  the  eye  of  the  busy  bride. 

Photofloods  in  reflector  stands  can  be  set  up  inside  the 
church  doors  to  illuminate  arriving  guests  while  filming 
casually.  A  stepladder  will  prove  handy  for  shooting 
over  the  heads  of  the  crowds,  and  floodlights  clamped  to 
camera  arms  with  a  long  extension  cord  will  aid  you 
in  moving  about.  Be  sure,  however,  to  check  all  electrical 
outlets  and  fuses  in  the 
church  before  shooting  to 
avoid  delays  and  other  em- 
barrassing moments. 

Most  brides  prefer  not  to 
have  the  actual  altar  cere- 
mony filmed,  since  bright 
lights  and  a  buzzing  camera 
tend  to  distract  from  the 
solemnity  of  the  occasion.  At 
any  rate,  photofloods  should 
be  ready  at  the  rear  of  the 
church  so  that  they  can  be 
clicked  on  quickly  for  inti- 
mate closeups  of  the  bridal 
party  as  they  return  down 
the  center  aisle.  If  you  have 
a  helper  using  another  cine 
camera,  station  him  outside 
the  church,  to  capture  the 
bride  and  groom  as  they 
pass  out  of  the  church  doors, 
step  into  the  waiting  car  and 
drive  off. 

The  wedding  reception  al- 
so should  be  filmed.  Here,  all 
of  the  principals  to  the  occa- 
sion are  more  relaxed,  mak- 
ing possible  a  freer  use  of 


Ormal  I.  Sprungman,  ACL 


•~^Sri!fc**fc' 


CUTTING  THE  CAKE  is  one  of  the 
ding    film  —  and    rightly    so.    The 


ORMAL    I.    SPRUNGMAN,    ACL 

the  indoor  camera.  Two  "must"  sequences,  of  course,  are 
the  cake  cutting  and  the  bride  as  she  ascends  the  stairs 
and  tosses  her  bouquet  into  waiting  arms.  Finally,  as  the 
rice-showered  couple  depart,  honeymoon-bound,  the  wed- 
ding film  comes  to  a  natural  end.  If  the  principals  are 
movie  makers,  they  can  add  to  this  footage  with  their 
travels  and  eventually  build  up  a  family  album  reel  that 
will  be  treasured  in  years  to  come. 

However,  the  wedding  gifts  also  should  figure  rather 
prominently  in  the  movie.  A  slow  panorama  of  the  gifts 
on  the  tables  can  be  followed  by  near  shots  and  closeups 
of  particularly  attractive  or  unusual  presents.  Be  sure 
that  every  gift  is  photographed  in  some  way.  to  avoid 
embarrassment  and  explanations  later  when  the  newly- 
weds  begin  to  screen  their  films  for  relatives  and  friends. 
Editing  a  wedding  movie  is  relatively  easy,  since  con- 
tinuity follows  in  chronological  order.  Titles  can  be  typed, 
hand-set  or  formed  with  block  letters.  For  a  novel  effect, 
use  the  bride's  scrapbook  as  a  titling  medium,  showing 
her  writing  each  title  on  a  separate  page  in  longhand. 
Closing  the  scrapbook  slowly  discloses  THE  END  for 
the  fade-out  to  wind  up  the  wedding  reel. 

If  you  own  a  record  player — preferably  a  dual  turn- 
table unit — you  can  synchronize  wedding  footage  to  suit- 
able organ  or  orchestral  background  music,  and  work 
in  wedding  bells  and  other  sound  effects  to  suit.  Tape  or 
wire  recordings  of  the  actual  ceremony,  including  the 
exchange  of  vows,  can  be  played  at  the  appropriate  spot 
during  screening  to  add  the  professional  touch. 

One  fashionable  wedding  we  photographed  featured  a 
breakfast  for  more  than  a  hundred  guests,  a  five  piece 

orchestra,  champagne  and 
all  the  trimmings.  By  ob- 
taining commercial  record- 
ings of  the  musical  numbers 
to  which  the  guests  danced, 
we  were  able  to  synchronize 
footage  on  the  playback  to 
recapture  the  mood  as  well 
as  all  of  the  color  of  the  gala 
event. 

Of  course,  there  are  a 
number  of  little  cine  tricks 
which  can  be  worked  into 
a  wedding  reel  to  help 
brighten  the  footage  and  add 
further  sparkle  without  de- 
stroying its  more  serious 
tone.  For  instance,  in  an- 
other wedding  film,  we  shot 
the  scenes  "at  the  altar"  sev- 
eral weeks  after  the  cere- 
mony and  at  home,  in  order 
to  bridge  an  unavoidable 
gap  and  improve  the  con- 
tinuity. 

Here  the  camera  faded  in 
on  a  closeup  of  a  minister's 
classic  "musts"  in  every  wed-  hands     holding     the     church 

flower   girl    adds   sweetness.  [Continued  on  page  173] 


150 


THE  CABOT  TRAIL,  above,  winding  for  185  miles  through  the  highlands 
of  Cape  Breton   Island,   is  hailed   by  many  as  best  in   Eastern  Canada. 


EVANGELINE'S  CHURCH,   left,    in  Grand   Pre  Memorial   Park,  is  a  key 
center   of   Nova    Scotia's   Apple   Blossom    Festival,   from   June    1    thru   4. 


NOW  FOR  NOVA  SCOTIA! 


yOU  never  know  your  luck  when  you  reach  Nova 
Scotia  with  a  few  rolls  of  color  film!  Although  it  is 
only  overnight  from  Boston  by  boat,  or  an  easy  219 
miles  by  car  from  the  Maine  border,  the  Old  Province  is 
truly  unique.  Here  the  color  film  cameraman  finds  oppor- 
tunities on  every  hand  to  produce  a  picture  which  will 
win  him  acclaim.  That  is  why  the  knowing  ones  are 
coming  to  Nova  Scotia  in  greater  numbers  each  year. 

INDIANS   AT  MILLBROOK 

If  you  come  by  motor  car,  as  most  people  do,  you'll 
be  entering  by  Highway  2  across  the  wide  marshes  of  the 
Tantramar,  to  travel  over  the  Fenwick  hills  and  down 
through  farming  country  to  the  Parrsboro  Shore.  You 
follow  the  coastline  to  Truro,  then,  and  it's  likely  you'll 


PORT  ROYAL  HABITATION,    here  reproduced   in  exact  detail,  was 
built  by  Champlain  in  1605  as  oldest  fixed  white  settlement. 


COURTNEY    J.    THOMAS 

get  your  camera  going  when  you're  at  Millbrook.  Here, 
just  the  other  side  of  Truro,  the  Micmac  Indians  make 
and  market  baskets  of  every  size  and  color.  If  your  luck 
is  with  you,  you  should  catch  a  sequence  of  them  dyeing 
the  splints  and  then  weaving  them  into  creels  and  other 
items. 

EIGHTY  MILES  OF  ORCHARDS 
When  enough  of  the  basket  making  has  been  recorded, 
get  in  your  car  again  and  follow  the  highway  to  Bedford, 
where  a  right  turn  puts  you  on  Highway  1.  After  an 
hour's  drive  you  will  begin  sniffing  the  aroma  of  apple 
blossoms.  Then,  like  a  dream,  you  see  them — on  both 
sides  of  the  road,  on  the  slopes,  squares  and  oblongs 
of  pink  and  white  blossoms  in  picture-card  valleys — the 
great  orchards  of  Nova  Scotia  which  extend  for  nearly 
eighty  miles  from  Windsor  to  Annapolis  Royal.  If  your 
luck  is  in,  it's  the  first  week  of  June  and  the  famous 
Apple  Blossom  Festival  is  in  full  swing;  parades,  climaxed 
by  the  crowning  of  the  Festival  Queen,  are  the  main 
features.  Some  of  the  ceremonies  take  place  in  lovely 
Grand  Pre  Memorial  Park,  where  the  flowers  and  the 
statue  of  Evangeline  form  a  perfect  background.  (For  a 
picture-planning  guide,  see  Filming  a  Festival  in  April 
Movie  Makers — Ed.) 

RICH  HISTORY  AT  ANNAPOLIS  ROYAL 
It  may  be  July  before  your  holidays  give  you  a  chance 
to  get  to  Nova  Scotia.  But  don't  think  for  a  moment  that 
you'll  be  unlucky.  Take  the  same  route  if  you  wish.  The 
apple  blossoms  will  be  gone,  but  you  can  go  around  the 
Grand  Pre  Park  just  the  same  and  get  shots  of  people 
tossing  pennies  in  Evangeline's  Well.  The  expressions  on 
their  faces  tell  what  kind  of  a  wish  they  are  making. 

Soon  this  same  Highway  1  will  take  you  to  old  Fort 
Anne  at  Annapolis  Royal,  with  its  graying  cannon,  grassy 
ramparts  and  children  playing  by  the  old  powder  maga- 
zine. Then  slip  out  to  Port  Royal  Habitation,  a  few 
minutes  drive  off  Highway  1.  When  you  go  through  the 
ancient  gateway  of  the  Habitation,  you  step  back  to  1607. 
There's  nothing  else  like  it  in  America,  for  here  are  the 
furnishings  Montcalm's  men  used  three  and  a  half  cen- 


151 


Photographs    courtesy   Nova   Scotia   Bureau    of  Information 


MADE  FOR  THE  MOVIE  MAKER  are  the  outdoor  Gaelic  Mod  at  St.  Ann's,  on  Cape 
Breton  Island  (August  9  through  11)  and  the  Highland  Games  at  Antigonish  on  July  18. 

From  May  through  September,  Evangeline's  land 
offers  countless  features  for  the  visiting  filmer 


A  BRIGHT  SEQUENCE  on  basket  weaving  is  offered  by  the  Mic- 
mac    Indians,    descendants    of    Nova    Scotia's   first    inhabitants. 


turies  ago.  You'll  linger  in  wonder  and  admiration. 
Leaving  this  history,  go  back  on  Highway  1  and  pro- 
ceed toward  Yarmouth.  Make  it  Sunday  morning  if  you 
can,  and  use  some  film  on  the  endless  procession  going  to 
the  big  churches  which  grace  each  parish  along  the  longest 
main  street  in  America.  The  fishing  villages  stretch  for 
thirty  miles  of  continuous  homes,  and  nearly  everyone 
goes  to  church  on  foot. 

TUNA  TOURNEY  IN  SEPTEMBER 
After  Yarmouth,  you'll  swing  along  the  South  Shore 
on  Highway  3.  In  September  the  International  Tuna 
Tournament  will  be  on  at  Wedgeport.  You  can  go  out  in 
a  boat  and  get  extraordinary  pictures,  everything  from 
the  hour-long  battles  with  the  big  ones  to  the  derricks 
hoisting  the  catch  to  the  dock  in  late  afternoon.  When 
you're  on  Highway  3  be  ready  at  any  time  to  shoot  a 
fine  team  of  red-and-white  oxen.  They  will  be  pulling 
huge,  ungainly  carts,  their  brass-tipped  horns  glinting  in 
the  sunlight,  their  bells  jingling  as  they  plod.  By  the  vil- 
lages, lobster  traps  will  be  piled  in  the  sun,  with  red-and- 
white  marker  buoys  alongside.  Long  fishing  nets  will  be 
draped  over  weathered  poles  for  drying,  providing  a  pic- 
turesque foreground  frame  for  many  a  marine  view. 

FISHERY  FAIR  AND  GUIDES'  MEET 
Lunenburg,  home  of  the  champion  schooner,  Bluenose, 
is  a  grand  place  for  the  man  with  color  film  when  the 
Fisheries  Exhibition  is  on  in  September.  Then  the  farmers 
come  to  town  with  their  biggest  oxen — reds,  red-and-whites, 
black-and-whites — and  enter  their  teams  in  the  annual 
ox  pull.  These  great  beasts  know  the  game  as  well  as  their 
owners,  who  signal  the  pull  by  pressing  down  on  the 
horns.  Every  huge  muscle  is  strained  to  the  utmost  and 
their  pull  is  much  steadier  than  that  of  horses. 

A  short  drive  up  from  Bridgewater  on  Highway  3  takes 
the  visitor  to  the  site  of  the  annual  Guides'  Meet.  There 
log  rolling,  canoe  racing  and  tilting  and  log  chopping  are 
among  the  many  colorful  contests  staged  on  Molega  Lake 


and  lakeside.  If  the  luck  is  still  with  you,  yacht  racing 
will  be  going  on  at  Chester  where  a  background  of  numer- 
ous islands,  wooded  with  dark  evergreens,  makes  a  perfect 
contrast  for  white-winged  craft  and  blue  water. 

WELCOME  TO  HALIFAX 

Halifax  has  every  type  of  water  sport  on  the  Northwest 
Arm  during  July  and  August,  and  the  view  from  the  top 
of  the  Memorial  Tower  overlooking  the  Arm  is  something 
unusual.  There  are,  too,  the  Public  Gardens  with  their 
beauty  of  flowers  and  hedges,  swans,  peacocks  and  water- 
fowl. And,  while  you're  in  the  Provincial  capital,  why  not 
drop  in  at  the  Nova  Scotia  Bureau  of  Information?  There 
will  be  a  special  welcome  there  for  all  members  of  the 
ACL  and  readers  of  Movie  Makers.  Among  the  features 
which  might  interest  and  aid  you  in  your  own  filming  is 
a  series  of  16mm.  color  movies  we  have  put  together 
ourselves.  You'll  find  us  in  the  Provincial  Building. 

One  hour's  drive  from  Halifax  is  the  tiny  fishing  village 
of   Peggy's   Cove,   a   mecca   for       [Continued  on  page  165] 


YOU  FOND  OF  FISHING?  The  International  Tuna  Cup  Match,  held 
at  Wedgeport  September  12  to   15,  brings  'em  in  up  to  800   lbs. 


152 


Can  the  amateur  tie  into  television? 


"Yes!"  says  the  author  of  "Movies  for  TV," 
giving    ten    rules    for    television    shooting 

JOHN    H.    BATTISON,   ACL 


MOST  PEOPLE  who  watch  television  think  of  it  as 
■a  multimillion  dollar  industry.  And  so  it  is.  But 
like  a  number  of  multimillion  dollar  industries, 
there  are  many  nooks  and  crannies  where  the  skillful 
worker  can  extract  a  few  dollars  for  himself  and  have 
fun  doing  it.  In  this  rather  brief  article,  we  will  discuss 
some  of  the  methods  whereby  one's  hobby  can  be  turned 
to  the  gain  of  a  little  long  green. 

Since,  as  a  reader  of  Movie  Makers,  you  already  are 
an  amateur  movie  enthusiast,  we  will  take  it  for  granted 
that  you  can  use  a  movie  camera.  We  shall,  therefore,  talk 
only  about  the  applications  of  your  abilities  to  television. 
Making  films  for  television,  then,  is  very  similar  to  mak- 
ing films  for  ordinary  projection,  except: 

1.  Long  shots  should  be  avoided.  The  small  size  of  a 
television  screen  and  its  relatively  poor  definition  make 
it  difficult  for  this  type  of  shot  to  convey  much  information 
to  the  viewer. 

2.  Night  scenes,  and  those  containing  large  black  areas, 
should  be  used  as  sparingly  as  possible.  In  any  case,  never 
have  large  black  areas  on  the  right  hand  side  of  films 
intended  for  use  over  the  television  film  camera  chain. 
The  electronic  characteristics  of  the  iconoscope  tube  used 
to  convert  the  film  images  to  electrical  signals  cannot  cope 
with  them;  the  black  area  tends  to  become  grayish  and 
a  white  "cloud"  often  appears  in  the  center  of  the  screen. 

3.  Never  make  titles  with  serif  type  (which,  like  the 
type  you  are  reading,  has  fine  cross  lines  at  top  and  bot- 
tom). The  comparatively  low  resolution  of  television  can- 
not reproduce  them;  often  they  cause  so  much  confusion 
that  the  titles  cannot  be  read. 

4.  Titles  should  not  be  black  and  white,  but  light  gray 
and  dark  gray,  or  vice  versa.  Any  sudden  change  in  bright- 
ness on  a  "card,"  as  a  title  is  called,  causes  the  scanning 
beam  to  produce  unwanted,  or  spurious,  signals,  which 
result  in  smears  after  such  contrasts. 

5.  When  shooting  for  television,  whether  titles  or  live 
scenes,  remember  that  the  projector  aperture  is  smaller 
than  the  camera  gate,  and  that  home  receivers  all  have 
different  size  screens  and  aspect  ratios  (ratio  of  width  to 
height).  Some  screens  really  are  3x4  in  proportion,  the 
same  as  a  film  picture.  Others  are  "magnified"  and  only 
reproduce  the  enlarged  center  of  the  frame,  omitting  the 
edges  on  the  theory  that  the  only  important  action  takes 
place  in  the  center  of  the  screen.  Therefore,  it  is  essential 
that  all  important  action  is  well  centered  in  the  film  frame 
to  avoid  the  risk  of  losing  it  in  transmission. 

6.  Color  is  not  objected  to  for  television  work;  on  the 
contrary,  color  films  televise  very  well.  But,  due  to  the 
fact  that  color  TV  is  not  yet  in  commercial  operation, 
there  is  no  point  in  spending  good  money  on  color  film 
when  black  and  white  stock  is  just  as  satisfactory. 

7.  You  must  shoot  at  24  frames  per  second.  All  tele- 
vision projectors  run  at  the  standard  sound  film  speed 
of  24  fps.  (The  frames  are  converted  to  television's  30 
fps  by  a  clever  electronic  device  in  the  film  projector.) 
If  your  film  is  not  made  at  this  speed  (24  fps) ,  the  action 


Wide    World 


NG   FOR  TV!    Black   area   at  right  will   create   a   white  cloud   on 
tube,    high    contrast   will    cause    "smear"    and    detail    will    be    lost. 

will  be  either  speeded  up  or  slowed  down  unattractively. 

8.  Don't  worry  about  sound.  Unless  properly  done  and 
expertly  handled,  sound  will  ruin  your  chances  of  selling 
any  footage. 

9.  Positives  made  from  direct  reversal  originals  are 
generally  the  most  acceptable  for  television  use.  However, 
the  television  film  pickup  camera  does  have  the  valuable 
property  of  being  able  to  take  a  negative  film  and  change 
it  into  a  positive  image  when  transmitted  over  the  tele- 
vision system.  This  is  done  by  a  switch  on  the  camera 
marked  "positive"  and  "negative,"  which  is  thrown  to 
accord  with  the  type  of  film  in  the  projector.  If  the  switch 
is  opposite  to  the  film  type,  the  picture  will  be  a  negative 
when  sent  over  the  air.  Therefore,  if  the  only  print  you 
have  of  a  very  newsworthy  event  is  a  negative,  don't  be 
afraid  to  send  it  in.  If  it  is  good,  the  TV  station  will  be 
glad  to  use  it. 

10.  Forget  about  35mm.  film.  Fewer  than  30  television 
stations  use  it.  It  is  more  costly  and  its  use  results  in 
extremely  stringent  fire  regulations.  Every  TV  station 
has  complete  16mm.  equipment,  so  that  your  ordinary 
movie  camera  will  be  satisfactory. 

This  brings  us  to  outlets  for  your  film.  Many  television 
stations  are  interested  in  obtaining  shots  for  station  iden- 
tification or  announcements.  Sometimes  they  provide  the 
artwork,  at  other  times  you  will  have  to.  A  typical  example 
of  a  job  is  a  program  announcement  where  the  station 
provides  the  artwork  and  you  provide  only  the  film. 
Many  jobs  of  this  sort  can  be  found  at  local  TV  stations, 
which  pay  about  $25.00  for  100  feet.  You  won't  buy 
many  Cadillacs  at  this  rate,  but  it's  interesting  work  and 
often  leads  to  more  important  assignments. 

Another  type  of  job  is  the  animated  announcement 
(not  cartoon)  in  which  perhaps  a  marquee,  or  cutout 
sign,  has  to  flash  a  message  on  the  film.  An  average  price 
for  this  type  of  work  is  about  $35.00,  if  the  station  sup- 
plies the  artwork.  Remember  that  if  the  artwork  is  done 
by  you,  it  must  be  perfect;  and  of  course  the  job  pays 
more.  So,  if  you  are  an  artist,  you  can  cash  in  in  two 
ways.  Don't  be  afraid  that  you  are  doing  someone  out 
of  work.  A  $25.00  job  is  not  very  interesting  to  the  aver- 
age large  television  film  company.  Nor  is  one  $35.00 
extravaganza!  [Continued  on  page  172] 


153 


THE    LITTLE    THINGS— a    youngster  at    rest,    a    boy    contentedly    brush- 
ing   his   teeth,    eager    faces    scanning    the    good    food  —  these    are    the 


scenes    which    sell    the    boys'    camp    to    the    boys,    says    the    author.    He 
compares    them,    knowingly,    to    box-top    premiums    on    breakfast   foods. 


AIM  FOR  THE  CAMPER! 

In  your  summer  camp  continuity,  good  fun  and  friendship  are  as  important 

as  good  food  and  care.  Let  the  'little  things'  tell  your  tale 
LAURENCE    CRITCHELL 


SOME  years  ago,  when  I  was  on  the  consulting  staff  of 
the  ACL,  I  made  a  1600  foot  color  film  of  a  boys' 
camp  at  Harrison,  Maine.  All  of  us  at  the  League 
were  interested  in  the  experiment,  because  we  seldom  had 
a  chance  to  test  our  film-planning  theories  with  actual 
practice.  The  results  were  gratifying;  and  recently  I  was 
asked  by  my  former  boss  if  I  would  write  an  article  for 
Movie  Makers  explaining  the  technique  that  was  used 
in  that  film.  It  was  his  idea,  I  believe,  that  this  might 
help  you  in  your  own  camp  filming. 

Actually,  there  wasn't  a  technique — not  in  the  special 
sense  of  the  word.  All  the  recommended  practices  of  the 
ACL  were  followed  to  the  letter:  a  treatment  outline  was 
drawn  up,  a  scene  by  scene  scenario  was  prepared;  I 
used  an  exposure  meter,  a  tripod  and,  where  necessary, 
indoor  lighting.  But  if  no  special  technique  was  employed, 
there  was,  at  least,  a  special  point  of  view;  and  that  point 
of  view  is  what  I  would  like  to  discuss. 

There  is  a  fundamental  rule  of  advertising:  to  sell  a 
child's  product,  appeal  to  the  child.  The  advertisements 
on  the  boxes  of  breakfast  cereals  are  a  good  example  of 
this.  Being  an  overgrown  boy  myself,  I  can  remember 
when  the  box  top  premiums  for  the  six  power  telescope 
or  the  false  mustache  set  (Be  a  Private  Detective;  Learn 
the  Secrets  of  Disguise!)  were  the  chief  inducement  to  a 
hearty  breakfast. 

Now,  a  summer  camp  is  essentially  a  child's  product. 
Yet  camp  films,  which  are  a  pure  sales  medium,  are  al- 


most always  directed  at  parents.  There  is  a  sound  reason 
for  this,  of  course;  the  camp  director  must  convince  the 
parents  that  the  food  at  his  camp  is  well  prepared,  the 
counseling  mature,  the  facilities  excellent  and  the  clinic 
well-staffed — in  other  words,  that  the  welfare  of  a  pros- 
pective camper  is  assured. 

But  if  we  list  the  questions  that  are  of  fundamental 
concern  to  both  the  child  and  the  parents,  we  find  that 
there  are  other  aspects  of  camp  life  just  as  important  as 
safekeeping. 

The  Parents — Will  he  enjoy  himself?  Will  he  adapt 
himself?  Will  he  like  camp  activities?  Will  he  be  well 
taken  care  of? 

The  Child — Will  I  have  fun?  Will  everybody  be  nice? 
Are  there  lots  of  things  to  do? 

The  first  three  of  those  aspects  are  the  same  for  the 
parents  as  for  the  child.  But  to  enlist  the  full  buying 
power  of  the  child,  the  emphasis  has  to  be  on  fun.  In 
other  words,  he  has  to  be  assured  that  if  he  eats  the  cereal 
— in  the  form  of  healthy  exercise  and  adult  guidance — 
he  also  will  get  the  six  power  telescope  and  the  false  mus- 
tache set. 

Of  course,  fun,  to  a  child,  can  mean  anything  from  a 
fairy  story  to  a  dead  cat  in  the  teacher's  desk.  But  fun  at 
a  good  summer  camp  means  the  simple  happiness  of  high 
spirits.  It's  there  at  night  when  the  boys  get  undressed 
to  go  to  bed  and  Micky  MacDougal  can't  find  his  tooth- 
brush.   It's    there    in    the    rest       [Continued  on  page  166] 


THE  MAJOR  ACTIVITIES,   such   as   horseback    riding,   outdoor   camping 
and    overnight    canoe    trips,    must    not    be    overlooked    in    your    boys' 


camp   continuity.    But  even   they    may    be   enlivened   with    light   touches 
of  good  fun  and  good  humor.   Note  effective  framing  of  views  above. 


154 


THE  REPRODUCTION  OF  SOUND:  7 

What  is  good  audio,  and  what  makes  it  good?  The  answers  begin  in 

this  article,  first  in  a  definitive  series  on  the  elements  of  sound 

GERARD    SCHOENWALD,    ACL 


ALTHOUGH  many  people  still  argue  that  sound  is 
k  not  essential  to  agood  motion  picture,  there  can 
be  little  doubt  that  a  suitable  sound  accompaniment 
does  add  emotional  appeal — and  therefore  entertainment 
value — to  practically  every  type  of  film.  This  statement, 
it  seems  to  us,  is  proved  on  every  hand:  at  your  neigh- 
borhood theatre,  at  your  movie  club  gala  show,  and  in 
your  own  home.  Sound,  whether  you  may  like  it  or  not, 
is  here  to  stay. 

Therefore,  this  series  of  articles  is  designed  for  the 
ever-increasing  number  of  movie  makers  interested  in 
good  audio.  We  shall,  in  due  course,  present  practical 
advice  for  building  up  an  effective  sound  system.  But  at 
the  outset  it  seems  wise  to  examine  the  fundamentals  of 
sound  recording  and  reproduction.  Let  us  start  from 
scratch  and  ask  the  question: 

What  is  and  ivhat  makes  good  audio? 

If  we  are  speaking  of  reproduced  sound,  we  may  define 
good  audio  as  undistorted  reproduction.  However,  distor- 
tions, in  a  wider  sense,  occur  even  before  a  microphone 
picks  up  the  sound.  The  effect  of  room  acoustics  on  sound, 
for  instance,  can  be  regarded  as  a  distortion.  Therefore, 
it  will  be  good  to  know  how  a  sound  is  produced  and 
affected  before  either  our  ears  or  a  microphone  pick  it  up. 

TONES  AND  OVERTONES 
Sound  can  be  generated  by  any  vibrating  body,  such 
as  an  air  column  (organ  pipe),  a  diaphragm  (drum)  or 
a  taut  string.  If  you  pluck  a  guitar  string,  you  set  the 
string  into  vibrations  which  are  transmitted  through  suc- 
cessive compressions  and  rarefactions  of  the  air  and  re- 
ceived by  your  ears.  When  playing  the  A  over  the  middle 
C,  the  string  vibrates  back  and  forth  440  times  per 
second.  We  say  that  this  tone  has  a  frequency  of  440 
cycles  per  second  (cps).  Changing  the  frequency  results 
in  change  of  pitch.  The  lower  the  frequency  of  tone, 
the  deeper  it  sounds  to  us.  Human  hearing  on  the  average 
extends  from  16  to  16,000  cps.  Below  16  cps  we  may  feel 
vibrations   but   we    do   not   conceive   them   as   a   sound. 


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Musical  instruments,  however,  produce  sounds  from  ap- 
proximately 16  to  only  5000  cps. 

What  kind  of  sounds,  then,  are  frequencies  which  we 
hear  over  5000  cps,  if  musical  instruments  cannot  produce 
them?  They  are  actually  produced  by  every  instrument, 
but  not  as  fundamental  tones.  They  are  overtones.  You 
can  take  a  G  string  from  a  guitar,  put  it  on  a  banjo  and 
tune  it  to  G.  Although  it  now  gives  off  a  different  sound, 
the  sound  still  is  the  note  G.  The  wooden  body  of  the 
guitar  and  the  sound  box  of  the  banjo  have  contributed 
overtones,  that  is,  tones  in  harmony  with  G  in  the  high 
audible  range. 

These  harmonics,  as  they  are  also  called,  are  mathe- 
matically 2,  3,  4,  5,  etc.,  times  the  fundamental  frequency 
and  are  usually  a  fraction  of  the  intensity  of  the  funda- 
mental note.  We  may  compare  this  idea  of  a  note  being 
a  composition  of  different  sounds  with  light  being  a  mix- 
ture of  rays  of  different  wave  length,  therefore  different 
colors.  The  various  green  shades  would  then  correspond 
to  the  same  note  played  on  different  instruments,  with 
resulting  variations  in  overtones. 

CREATION  AND  EFFECT  OF  OVERTONES 
A  stringed  instrument  will  give  us  a  good  illustration 
of  how  overtones  are  set  up.  When  a  string  is  swinging 
back  and  forth  at  a  certain  rate,  it  is  producing  the 
fundamental  tone.  This  happens  very  rarely,  however. 
While  the  whole  length  of  the  string  swings  at  440  cps, 
the  string  subdivides  itself  into  loops  which  swing  at  a 
higher  rate.  As  the  frequency  of  a  string  in  vibration 
decreases  with  increased  length  and  size  of  the  string, 
and  vice  versa,  it  can  be  seen  that  each  half  of  the  string 
will  vibrate  at  880  cps,  the  octave,  if  two  loops  are  being 
formed.  We  hear  the  fundamental  note  with  the  octave 
as  overtone. 

In  practice,  these  vibrations  are  of  a  much  more  com- 
plicated nature.  The  way  a  guitar  string  is  plucked  and 
where  it  is  plucked  affects  the  tone  to  a  great  extent. 
A  steel  string  sounds  harder  than  a  gut  string  because  its 
small  mass  can  more  easily  swing  in  higher  harmonics. 
Overtones  over  15,000  cps  add  little  in  the  way  of  quality 
differentiation.  Those  lying  within  the  range  of  4000  to 
at  least  10,000  are  of  greatest  importance  in  enabling  us 
to  recognize  the  quality  of  certain  instruments.  Overtones, 


+  10 

db    o 

-10 

10 


j    1 

|    ! 

A 

/JTTS 

if 

•'r         / 

i> 

| 

;  n 

— *• — 1 — 7— 
\/ 

1 

if 

•• 

FIG.  1:  How  noise  grows:  1)  audience;  2)  microphone,  pre-amplifier 
and  recording  amplifier;  3)  recording  stylus  and  disc  surface;  4) 
pressing  shellac;  5)  reproduction  needle;  6)  surface  wear  and  dust; 
7)    reproducing    amplifier    and    speaker;    8)    audience    at    reproduction. 


cuc( 


ucies  per  second 

FIG.    2:    Amplifier    response    curves    for    A)    ideal    unit;    B)    high    qual- 
ity;   C)    good,    and    D)    average.    A    flat    response    at   all    cps    is    best. 


155 


we  see,  add  brilliance.  Taking  them  away  will  make  the 
sound  mellow. 

This  is  actually  what  we  are  doing  when  we  adjust 
the  tone  control  on  a  radio.  This  control  cuts  ofi  the 
overtones,  taking  away  the  brilliance  of  music.  Portable 
sets  and  smaller  table  models  have  done  great  harm  by 
making  millions  of  people  accustomed  to  music  which 
lacks  naturalness,  balance  and  brilliance.  In  nine  out  of 
ten  homes,  the  tone  control  is  turned  down  all  the  time 
or  occasionally  changed  for  listening  to  speech.  Consonants 
like  "s"  have  higher  frequencies  than  vowels.  If  cut  down, 
understandability  is  impaired.  This  deficiency  is  usually 
recognized  and  the  tone  control  set  accordingly.  We  shall 
see  later  what  other  reasons  make  these  sets  sound  as 
they  do. 

HARMONICS  AND  RESONANCE 
Harmonics  also  are  the  result  of  resonance.  Anything 
that  vibrates  has  its  resonant  frequencv.  that  is,  the 
natural  vibration  in  which  it  swings  if  put  into  motion. 
A  pendulum  of  a  certain  size  swings  at  a  definite  rate. 
a  bigger  one  will  swing  slower,  a  shorter  one  faster. 
A  tone  and  its  harmonics  will  create  vibrations  in  nearby 
objects.  The  violin  string,  for  example,  sets  the  instru- 
ment's body  into  vibration.  When  a  sound  happens  to 
be  of  the  same  frequency  as  the  natural  frequencv  of  the 
object  which  is  brought  into  vibration,  the  object  may 
start  to  vibrate  so  strongly  that  it  cracks.  Windows, 
glasses,  even  walls  can  crack  under  such  circumstances. 
(It  is  intriguing  to  speculate  whether  this  known  scientific 
reaction  explains  the  Biblical  legend  of  Joshua  and  the 
walls  of  Jericho — Ed.  I 

COMPOSITE  TONES 

When  two  tones  are  played  together,  another  interesting 
thing  happens.  The  two  sound  waves  add  mathematically 
and  form  a  third  wave.  It  is  this  third  wave  that  we  hear. 
The  sound  of  a  full  orchestra  forms  one  wave  which  is 
the  resultant  of  hundreds  of  other  waves.  A  trained  ear 
can  pick  it  up,  transmit  the  impression  to  the  brain  and 
the  lucky  man  will  analyze  this  complex  wave  and  tell 
you  that  the  chord  just  played  by  the  orchestra  was  a 
minor  seventh.  He  also  may  add  that  the  cellos  were  too 
loud  and  the  timpani,  on  the  other  hand,  slightly  out  of 
beat.  And  all  that  from  one  complex  wave  touching  his 
ears! 

Memory  for  sound  quality,  however,  is  very  bad.  For 
comparison  of  sound  quality  a  so-called  A-B  test  is  the 
only  way  to  get  proper  results.  In  this,  two  sound  systems 
are  set  up  side  by  side.  While  playing  the  same  program 
material,  a  switching  arrangement  permits  instantaneous 
change  from  one  system  to  the  other. 

DECIBELS  AND  DYNAMIC  RANGE 
Our  eyes  are  able  to  see  light  intensities  that  range 
from  extremely  weak  light  rays  to  strong,  concentrated 
light  beams.  Photographic  film,  as  you  know,  limits  this 
range  and  sensitized  paper  even  more.  Our  ears,  likewise. 
are  limited  by  the  threshold  of  audibility,  on  one  side. 
and  the  threshold  of  pain,  on  the  other  side.  This  dynamic 
range  is  usually  expressed  in  decibels  d  db  equals  10 
bels,  a  unit  for  the  logarithmic  expression  of  ratios  of 
power — in  this  case,  sound),  a  term  commonly  encoun- 
tered in  descriptive  literature  on  audio  units.  The  thresh- 
old of  hearing  was  found  to  be  about  1  db,  average  street 
noise  45  db,  orchestral  music  about  70  db  at  fortissimo. 
heavy  street  traffic  measured  at  a  15  foot  distance  85  db. 
thunder  110  db  and  the  threshold  of  pain  about  135  db. 


Godsey  from  Monkmeyer 


THE   BEAUTY   OF   MUSIC,   perfectly   recorded    and   perfectly   reproduced, 
is   the    goal    of    good    audio.    With    it,    the    "presence"    of    artist    is    felt. 

If  a  reproduction  system  does  not  pass  music  in  its 
original  intensity,  and  thereby  compresses  the  dynamic 
range,  we  have  no  longer  that  all-important  feeling  of 
presence,  the  perfect  illusion  of  music  being  played  right 
in  front  of  us.  This  loss  of  dynamic  range  is  due  mostly 
to  noise  (commonly  called  "background"  noise)  which 
accumulates  through  the  various  recording  and  reproduc- 
ing steps.  The  so-called  signal-to-noise  ratio  of  an  equip- 
ment indicates  how  quiet  the  equipment  is.  It  is  the  ratio 
between  wanted  signal  and  unwanted  signal  (noise)  and 
is  also  expressed  in  decibels.  Fig  1  shows  how  noise  can 
accumulate  from  the  time  of  recording  to  the  moment  we 
listen  to  the  reproduction  of  a  record.  It  is  assumed  that 
the  record  is  of  average  quality  and  has  been  worn  a  bit. 

TYPES  OF  SOUND  DISTORTION 
Most  unfortunately,  sound  passed  through  a  micro- 
phone, amplifier  and  loudspeaker  is  subject  to  distortions. 
The  natural  overtones  of  an  instrument  may  be  distorted 
in  such  a  way  that  the  percentage  of  overtones  present  is 
increased  or  new  ones  are  created.  Result:  a  change  of 
timbre. 

Besides  these  harmonic  distortions,  we  can  hear  so-called 
intermodulation  distortions,  which  are  worse  in  their 
effect  than  the  others.  Intermodulation  distortions  are 
tones  introduced  during  amplification  that  are  out  of 
harmony.  You  may  also  hear  more  and  more  of  transient 
response  of  an  amplifier  or  loudspeaker.  If  a  loudspeaker, 
for  instance,  cannot  follow  the  immediate  start  of  a  tone, 
such  as  produced  by  any  percussion  instrument,  it  is  said 
that  its  transient  response  is  bad.  It  is  also  true  if  referred 
to  the  immediate  interruption  of  a  sound.  An  "over- 
hanging" of  a  loudspeaker,  as  this  is  called,  is  a  very 
undesirable  feature,  yet  is  all  too  commonly  encountered. 
Wow  and  flutter  are  changes  in  frequency  as  well  as 
in  intensity.  Wow  is  noticed  on  many  records  when  "the 
hole  is  not  exactly  in  the  center."  The  pickup,  therefore, 
is  being  displaced  laterally  once  per  revolution.  Pro- 
nounced wow  may  even  create  a  feeling  of  nausea  in  a 
person  of  sensitive  ears.  When  the  changes  in  frequency 
or  intensity  occur  at  a  high  rate,  the  result  is  called 
flutter.  A  scratchy  violin  sound  is  often  due  to  flutter. 
Both  wow  and  flutter  can  best  be  detected  when  a  long 
sound  is  reproduced.  Piano  music  can  be  used  very  well 
for  tests  on  wow.  In  a  good  reproduction  system  these 
distortions  are  kept  down  to  a  tolerable  amount,  that  is, 
at  a  point  where  our  ears  cannot  easily  distinguish  between 
the  original  and  the  reproduc-      [Continued  on  page  173} 


156 


MORE  ON  MAGNETIC  RECORDING 

The  author  of  "Synchronizing  Sound  on  Wire"  reports  on 

his  advancing  techniques  developed  since  April,  1949 

WARREN    A.    LEVETT,    ACL 


WITHIN  the  magic  circle  of  the  Ten  Best  Films 
of  1950,  there  were  three  entries  accompanied 
by  wire  recordings  and  one  by  tape;  in  the  Hon- 
orable Mention  class,  two  more  filmers  used  the  wire 
medium  and  an  equal  number  tried  tape.  Thus,  thirty 
percent  of  the  producers  of  the  selected  pictures  have 
broken  away  from  discs  and  turntables  to  record  perma- 
nently their  music  and  narration  by  the  magnetic  method. 

It  seenls  likely,  therefore,  that  a  further  discussion  of 
magnetic  recording  techniques  is  in  order.  And,  while 
this  article  deals  specifically  with  wire  recording,  its  basic 
principles  apply  also  to  tape  recording,  since  the  problems 
are  fundamentally  the  same  for  either  system. 

In  an  earlier  issue  of  Movie  Makers  (April,  1949),  the 
application  of  the  wire  recorder  when  used  to  synchronize 
music  and  narration  with  amateur  films  was  discussed. 
The  first  steps  in  synchronizing  wire  with  film,  and  a 
simple  method  of  getting  the  music  and  narration  on 
the  wire,  were  described.  (This  discussion,  Synchronizing 
Sound  on  Wire,  is  now  available  in  separate,  ready-refer- 
ence form  to  any  member  of  ACL  who  wants  it — Ed.) 
It  is  probable  that  some  wire  enthusiasts  are  now  inter- 
ested in  more  advanced  methods  of  reproduction,  with 
the  intent  of  producing  smoother  and  more  perfect 
recordings. 


Following 


ELECTRONIC   RECORDING   DESIRED 

my  early  wire  recordings  of  about  three 
years  ago,  made  with  a  single  turntable,  I  felt  it  desirable 
to  use  double  turntables  so  that  an  uninterrupted  flow  of 
music  could  be  supplied.  Thus  it  was  that  the  turntables 
shown  in  the  accompanying  photograph  (see  Fig.  1) 
came  into  being.  They  are  standard  these  days — offering 
three  tone  arms  and  two,  single-speed  (78  rpm )  turn- 
tables, mounted  in  a  plywood  box  constructed  for  the 
purpose.  And  they  offered  me  an  uninterrupted  flow  of 
music,  it  is  true.  But  my  intention  was  to  supply  this 
music  to  the  recorder  electrically,  not  via  a  turntable 
loudspeaker  for  pickup  by  the  microphone  of  the  recorder. 


FIG.    1:   Recorder   1    plays   narrative   wire   into   Recorder  2   through    L   pad   3,   as   music  from 
turntables  is  added  to  Recorder  2  through   mixer,  4.  In  operation,  Recorder  1   is  on  "Listen." 


For  by  this  system  one  could  eliminate  loss  of  fidelity  in 
the  speaker  and  microphone,  thus  providing  on  the  wire 
the  same  fidelity  as  on  the  disc  recording. 

MIXER  AND  MONITOR  ADDED 
Not  having  any  knowledge  of  electronics,  I  went  to  see 
my  radio  repair  man  and  had  him  construct  the  unit 
enclosed  by  the  metal  box  (item  4)  shown  in  Fig.  1. 
It  serves  as  a  mixer  so  that  I  can  fade  from  one  record 
to  another  without  a  sharp  break;  at  the  same  time,  it 
provides  a  jack  for  headphones,  so  that  I  can  hear  what 
is  being  recorded.  The  wiring  diagram  for  the  mixer 
is  shown  in  Fig.  2.  However,  I  also  wished  to  add  nar- 
rative to  the  wire  during  lowered  pauses  in  the  music. 
To  that  end  a  minor  change  in  the  Webster  Recorder 
was  made  by  adding  a  second  input  connection,  so  that 
the  input  from  the  microphone  is  fed  directly  to  the 
recorder.  Fig.  3,  examined  in  conjunction  with  the  stand- 
ard wiring  diagram  for  the  Webster  Model  80,  will  show 
the  simple  changes  made.  This  mike  too  can  be  heard 
through  the  headphones.  If  you  can't  tackle  these  yourself 
(I  couldn't),  most  radio  repair  shops  are  able  to  build 
similar  equipment  at  moderate  cost. 

SINGLE  SYSTEM  TOO  BUSY 
The  equipment  described  above  allowed  me  to  feed 
undistorted  music  and  voice  to  the  recorder,  and  to 
monitor  it  as  the  recording  was  being  made.  Many  suc- 
cessful recordings  were  made  in  this  fashion;  but  from 
the  start  I  felt  akin  to  the  proverbial  one-armed  paper 
hanger! 

I  had  been  making  the  recordings  alone  because  I  found 
it  difficult  to  teach  a  second  person  just  how  and  when 
I  wanted  musical  changes  made.  But  what  with  keeping 
one  eye  on  the  clock  and  one  on  the  score  sheet  for  music 
cues,  trying  to  narrate  at  the  proper  time,  and  trying  to 
change  records  without  clatter  because  of  the  open  micro- 
phone, I  knew  I  had  to  have  a  better  system.  Also,  I  had 
an  annoying  habit  of  tripping  occasionally  over  a  word 
in  the  narration,  thus  necessitating  a  new 
start.  Casting  about  for  a  solution  to 
the  problem,  I  hit  upon  the  following: 
why  not  record  the  narration  separately 
— on  a  second  recorder  owned  by  a 
friend — and  then  feed  this  narration  into 
the  first  recorder  at  the  same  time  the 
music  was  added? 


DOUBLE  RECORDING  SYSTEM  TRIED 

This  worked  out  as  desired,  and  the 
problem  was  solved.  It  is  now  easy  to  do 
the  narration,  as  only  the  script  and  the 
clock  have  to  be  watched.  Further,  if  a 
mistake  is  made  in  the  narration,  I  sim- 
ply keep  on  with  it  to  the  end,  and  then 
return  to  erase  and  correct  the  error. 
Since  the  narration  is  broken  into  para- 
graphs, it  is  possible  to  erase  and  record 


157 


MONITOR    JACK 


JONES  PLUGr 


S. 


1 1 5  VA.C. 


■vwwwwv 


SELENIUM  RECTIFIER 
IOO  MA. 


IHfr 


FIG.  2:  Wiring  diagram  (above)  for  mixer  used  by  the  author. 

FIG.  3:  Wiring  diagram  (right)  showing  added  input  channel 
in  Webster  recorder  as  it  applies  to  Model  80  wiring  plan. 


again  any  portion  containing  an  error,  without 
danger  of  erasing  other  parts  of  the  recording 
that  were  satisfactory  the  first  time. 

THE  DOUBLE  SYSTEM  HOOKUP 
The  completed  narration,  with  a  "one,  two, 
three,  go"  signal  at  the  start,  is  now  played  from 
the  output  of  the  borrowed  recorder  into  the 
microphone  connection  on  my  own  recorder 
through  an  8  ohm  L  pad  (item  3  in  Fig  1),  or 
matching  network,  to  balance  the  impedance. 
On  the  word  "go,"  the  clock  is  started  and  the 
music  is  fed  into  recorder  No.  2  through  the 
mixer  and  the  original  jack  on  the  recorder. 
Reference  to  the  script  and  the  clock  indicates 
when  the  narration  from  recorder  No.  1  is  due. 
and  hence  it  is  possible  to  reduce  the  volume  of 
the  music  a  second  or  so  before  the  voice  is  re- 
recorded. Further,  the  headphones  are  naturally 
invaluable  in  telling  me  exactly  what  is  being 
recorded  at  all  times — whether  it  be  music  or  narrative. 

METHOD  FOR  ERASING  CLICKS 

The  method  described  above  makes  possible  a  record- 
ing of  constant  level,  free  from  extraneous  noise.  Since 
the  final  recording  is  made  in  a  continuous  run,  no  clicks 
resulting  from  stopping  and  starting  the  recorder  are 
included.  Of  course,  when  corrections  are  made  in  the 
narration  wire,  clicks  result.  But  they  can  be  erased,  and 
here  again  is  a  new  development  in  my  methods. 

To  begin  with,  simply  setting  the  machine  on  "record" 
and  then  erasing  only  moves  the  click  further  along,  since 
the  click  results  from  stopping  the  recorder,  or  from 
switching  from  "record"  to  "listen,"  when  the  machine 
is  running.  Fortunately,  no  noise  is  put  on  the  wire  as 
the  switch  is  changed  from  "listen"  to  "record."  Thus, 


after  a  lot  of  experimenting,  I  discovered  how  to  erase- 
the  clicks  without  adding  new  ones. 

This  method  is  to  locate  the  click  to  be  eliminated, 
rewind  the  wire  a  turn  or  two,  place  the  switch  on 
"record,"  and  turn  the  "run"  switch  to  start  the  recorder. 
As  soon  as  it  is  certain  the  click  has  passed  the  recording 
head,  the  takeup  drum  is  stopped  with  the  hand  and, 
with  a  pencil,  the  wire  is  carefully  pushed  out  of  the  slot 
in  the  recording  head.  Now  the  switches  are  returned 
from  "run"  to  "stop"  and  from  '"record"  to  "listen,"  and 
the  wire  is  again  inserted  in  the  recording  slot. 

TROUBLES  WITH  TIMING 
Another    source    of   trouble    I    encountered    concerned' 
timing,  and  perhaps  an  example  will  best  illustrate  the. 
problem.    I    prepared    a    timing       [Continued  on  page  166] 


wwUfofe...  Kodak  Ci 


ine 


The  15mm.  wide-angle  lens  cap- 
tures the  whole,  broad  pano- 
rama of  the  scene. 


Here  is  the  scene  as  it  would 
appear  when  taken  with  the 
standard  25mm.  lens. 


The  63mm.  lens  provides  21/2 
times  magnification...  brings  the 
subject  still  "closer." 


The  102mm.  lens,  with  its  4-times 
magnification,  provides  a  pleas- 
ing semi  close-up. 


T/ie  pictures  above  show  how  the  Ektar  Lenses  for  16mm.  cameras  would  recc 


KODAK    CINE    EKTAR    LENSES    FOR   16MM.    CAMERAS 


Type 

Focal  length 
and  Speed 

Relative 
Magni- 
fication 

Focusing 
Range 

Width  of  Area 

Covered  at  Minimum 

Focus  Distance 

Width  of  Area 

Covered  at 

25  Feet 

Width  of  Area 

Covered  at 

SO  Feet 

Price, 

including 

Federal  Tax 

IS   YOUR   CAMERA   LISTED   HERE? 
If  it  is,  the  appropriate  adapter  will 
equip  it  to  accept  Kodak  Cine  Lenses 

Wide- Angle 

15mm.  f/2.5 

0.6 

Inf.  to     6  in. 

2»/6  in. 

1  5  ft.  3  in. 

30  ft.     6  in. 

$   77.50 

Bolex  H-16;  Cine-Kodak  Magazine  16;  Cine- 
Kodak  Model  E,  f/1.9;  Cine-Kodak  Model  K; 
Cine-Kodak  Royal;  Cine-Kodak  Special  and 
Special    II;    Cinklox;    DeVry    Deluxe;    Filmo 
Autoload;   Filmo  Autoload   Speedster;   Filmo 
Automaster;  Filmo  70,  70A,  70B,  70C  (except 
serial    nos.    46122    through     54089);    Filmo 
70D,  70E,  70F,  70G;  Filmo  141A  and  141B; 
Keystone   A-7;   Revere   Models   C-16,   C-19, 
C-26,  and  C-29;  Victor  Models  3,  4,  and  5. 

Standard 

25mm.  f/1.9 

1 

Inf.  to  1  2  in. 

3%  in. 

9  ft.  5  in. 

1  8  ft.  10  in. 

98.50 

Standard 

25mm.  f/1.4 

1 

Inf.  to  1  2  in. 

3'y,6  in. 

9  ft.  5  in. 

1  8  ft.  10  in. 

195.00 

Long -focus 

40mm.  f/1.6 

VA 

Inf.  to  24  in. 

SVm  in. 

6  ft.  0  in. 

1  2  ft.     0  in. 

128.50 

Long-focus 

63mm.  f/2.0 

2Vi 

Inf.  to  24  in. 

2,5A  in. 

3  ft.  9  in. 

7  ft.     7  in. 

129.50 

Long-focus 

102mm.  f/2.7 

4 

Inf.  to  36  in. 

2%  in. 

2  ft.  4  in. 

4  ft.     8  in. 

139.50 

Long-focus 

152mm.  f/4.0 

6 

Inf.  to     6  ft. 

35/8  in. 

1   ft.  6  in. 

3  ft.      1   in. 

164.50 

KODAK    CINE    EKTAR    LENSES    FOR    8MM.    CAMERAS 


Type 

Focal  Length 
and  Speed 

Relative 
Magni- 
fication 

Focusing 
Range 

Width  of  Area 

Covered  at  Minimum 

Focus  Distance 

Width  of  Area 

Covered  at 

25  Feet 

Width  of  Area 

Covered  at 

SO  Feet 

Price, 

including 

Federal  Tax 

IS  YOUR   CAMERA   LISTED   HERE? 

If  it  is,  the  appropriate  adapter  will 

equip  it  to  accept  Kodak  Cine  Lenses 

Long-focus 

25mm.  f/1.9 

2 

Inf.  to  1  2  in. 

l"/i«in. 

4  ft.  3  in. 

8  ft.     6  in. 

$   98.50 

Bolex  H-8;  Briskin;  Cine-Kodak  Reliant;  Cine- 
Kodak  Magazine   8;  Cine  Perfex;  Franklin; 
Keystone;  Keystone   Magazine;   Revere   88; 
Revere  99;  Stewart-Warner. 

Long-focus 

25mm.  f/1.4 

2 

Inf.  to  1  2  in. 

l"/.6in. 

4  ft.  3  in. 

8  ft.     6  in. 

195.00 

Long-focus 

40mm.  f/1.6 

3 

Inf.  to  24  in. 

214  in. 

2  ft.  8'/2  in. 

5  ft.     5  in. 

128.50 

Long-focus 

63mm.  f/2.0 

5 

Inf.  to  24  in. 

1  %  in. 

1  ft.  8  Va  in. 

3  ft.     5  in. 

1  29.50 

Owners  of  turret-type  cameras  should  make  certain  before  buying  accessory  lenses  that  the  turret  provides  adequate  optical  clearance. 

Prices  are  subject  to  change  without  notice.  Consult  your  Kodak  dealer. 


ar  Lenses  Get  the  Picture! 


■  '"~^Mj&jfc 


The  40mm.  telephoto  mag- 
nifies subjects  about  Wi  times 
"standard"  coverage. 


»ipw 


^ 


A  real  close-up!  Yet  with  the 
152mm.  lens,  you  can  film  this 
scene  from  the  same  distance 
as  the  others  in  the  series. 


WITH  a  complement  of  accessory  lenses,  your  camera  acquires  truly 
remarkable  versatility.  Every  scene  can  be  framed  just  as  you  want  it . . . 
shots  you  never  before  thought  possible  come  into  easy  range.  And, 
when  you  choose  Kodak  Cine  Ektar  Lenses,  you  obtain  for  your  own 
reels  the  unsurpassed  movie  results  provided  by  the  finest  lenses  ever 
produced  for  16mm.  and  8mm.  cameras. 

A  full  complement  of  Kodak  Cine  Ektar  Lenses  for  16mm.  cameras 
consists  of  seven  lenses — a  wide-angle,  two  lenses  of  standard  focal 
length,  and  four  telephotos  ranging  in  relative  magnification  from 
Wi  to  6  times — the  whole  series  comprehensively  graduated  in  focal 
length  at  a  common  ratio  of  1:6.  Four  of  the  lenses  are  in  suitable 
focal  lengths  for  use  with  8mm.  cameras  . .  .  provide  telephoto  magni- 
fications from  2  to  5  times. 

Few  movie  makers,  perhaps,  will  require  the  range  provided  by  all 
the  lenses.  But  equally  few  serious  movie  workers  can  afford  to  be 
without  some  of  them.  The  Kodak  Cine  Ektar  63mm.  //2.0  Lens,  to 
take  just  one  example,  is  a  lens  that  might  well  have  a  place  in  your 
movie  kit.  Like  all  Ektar  systems,  this  lens  is  remarkably  fast  for  its 
focal  length — fast  enough  not  only  for  most  outdoor  conditions  .  .  . 
but  even  for  shots  of  indoor  events.  Used  on  a  16mm.  camera,  it 
captures  images  2:/2  times  as  large  as  would  the  standard  lens  from 
the  same  position  ...  on  an  8mm.  camera,  5  times  as  large. 

The  results — "sideline"  sports  shots  filmed  across  tiers  of  seats  .  .  . 
unflustered  movie  portraits  of  camera-conscious  subjects  .  .  .  detailed 
views  of  unapproachable  wildlife — real  close-ups  filmed  from  well 
back,  whenever  time,  terrain,  or  the  nature  of 
your  subject  prevents  you  from  moving  in.  And 
this  fine  lens  is  as  much  at  home  at  extremely  short 
range — at  minimum  focus,  it  covers  fields  a  scant 
inch  or  two  wide  .  .  .  for  needle-sharp  studies  of 
tiny  movie  subjects. 

The  table  at  left,  below,  will  help  you  select 
the  lenses  best  suited  to  your  needs.  Look  it  over 
.  .  .  then  talk  it  over  with  your  Kodak  dealer. 
He'll  be  glad  to  supply  you  with  lenses  that  will 
help  you  get  the  picture  .  .  .  every  time! 


ie . . .  from  the  same  camera-to-subject  distance. 


EKTAR:  TOP  QUALITY 


THE  most  important  characteristics  of  a 
lens  are  those  you  can  never  see.  Even  a 
photograph  like  this — an  actual  cross- 
section  of  the  Kodak  Cine  Ektar  2  5mm. 
//1.4  Lens — can  only  suggest  the  skilled 
design,  the  precise  manufacture  .  .  .  the 
all-round  optical  excellence  .  .  .  that  are 
essentials  of  this  one  lens,  and  of  all  truly 
fine  optical  systems. 

For  characteristics  like  these,  only  the 
integrity  of  the  manufacturer  can  give  you 
full  assurance.  And  Ektar  Lenses — de- 
signed   and    produced    by    Kodak — are 


those  which  have  proved  so  excellent  in 
every  characteristic  that  they  have  earned 
Kodak's  highest  optical  designation. 

Kodak  CineEktar  Lenses  provideunique 
flatness  of  field  .  .  .  give  crisp  definition 
and  sparkling  sharpness  from  edge  to 
edge.  Rare-element  glass  helps  assure  top- 
quality  results,  even  under  adverse  light- 
ing. Because  Ektar  Lenses  are  fully  color 
correct — with  all  glass-air  surfaces  Lu- 
menized — your  shots  take  on  surprising 
brilliance  and  realism,  whether  color  or 
black-and-white. 


KODAK  EKTAR  CONVERTER 

This  handy  accessory  alters  the  effective  focal  length  of 
the  25mm. //1. 4  Ektar  Lens  to  15mm. — increases  field 
coverage  by  about  60% — without  loss  in  speed  or 
image  quality.  For  16mm.  cameras,  the  combination 
provides  a  standard  lens  and  a  wide  angle 
— both  with  J '11.4  speed  .  .  .  both  with  Ektar 
quality!  Kodak  Ektar  Converter — $80, 
Federal  Tax  included. 


EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


.TRADE-MARK 


Prices  are  subject  to  change  without  notice,  nonsuit  your  mu.uk  «*t 


<nUfcfe>-  Kodak  Cine  [[tar  Lenses  Get  the  Picture! 


Here  i,  the  scene  os  i,  woo|d 
appear  when  taken  with  „, 
standard  25mm.  lens.  \ 


The  40mm.  telephoto  mag 
nifles  subjects  about  l'/j  time 
"standard"  coverage. 


2J 


The  102mm.  lens,  with  its  4-ti 
magnification,  provides  a  p1< 
ing  semi  close-up. 


A    real    close-up!    Yet    with    the 
152mm.    lens,   you    can    film    this 
from    the    same    distant 
the  others  in  the  series. 


*£.,*.-.-._    M 


_T/ie  pictures  above  show  how  the  Ektar  Lenses  for  16mm.  cameras  would  recoriy  scene . . .  from  the  same  camera-to-subject  distance 


WITH  a  complement  of  accessory  lenses,  your  camera  acquires  truly 
remarkable  versatility.  Every  scene  can  be  framed  just  as  you  want  it . . 
shots  you  never  before  thought  possible  come  into  easy  range  And 
when  you  choose  Kodak  Cine  Ektar  Lenses,  you  obtain  for  your  own 
reels  the  unsurpassed  movie  results  provided  by  the  finest  lenses  ever 
produced  for  16mm.  and  8mm.  cameras. 

A  full  complement  of  Kodak  Cine  Ektar  Lenses  for  16mm.  cameras 
consists  of  seven  lenses-a  wide-angle,  two  lenses  of  standard  focal 
length,  and  four  telephotos  ranging  in  relative  magnification  from 
1  /2  to  6  times— the  whole  series  comprehensively  graduated  in  local 
length  at  a  common  ratio  of  1:6.  Four  of  the  lenses  are  in  suitable 
focal  lengths  for  use  with  8mm.  cameras  . . .  provide  telephoto  magni- 
fications from  2  to  5  times. 

Few  movie  makers,  perhaps,  will  require  the  range  provided  by  all 
the  lenses.  But  equally  few  serious  movie  workers  can  afford  to  be 
without  some  of  them.  The  Kodak  Cine  Ektar  63mm.  f/2.0  Lens,  to 
take  just  one  example,  is  a  lens  that  might  well  have  a  place  in  your 
movie  kit.  Like  all  Ektar  systems,  this  lens  is  remarkably  fast  for  its 
focal  length— fast  enough  not  only  for  most  outdoor  conditions  .  .  . 
but  even  for  shots  of  indoor  events.  Used  on  a  16mm.  camera,  it 
captures  images  2V2  times  as  large  as  would  the  standard  lens  from 
the  same  position  ...  on  an  8mm.  camera,  5  times  as  large. 

The  results— "sideline"  sports  shots  filmed  across  tiers  of  seats  .  .  . 
unflustered  movie  portraits  of  camera-conscious  subjects  .  .  .  detailed 
views  of  unapproachable  wildlife— real  close-ups  filmed  from  well 
back,  whenever  time,  terrain,  or  the  nature  of 
your  subject  prevents  you  from  moving  in.  And 
this  fine  lens  is  as  much  at  home  at  extremely  short 
range — at  minimum  focus,  it  covers  fields  a  scant 
inch  or  two  wide  .  .  .  for  needle-sharp  studies  of 
tiny  movie  subjects. 

The  table  at  left,  below,  will  help  you  select 
the  lenses  best  suited  to  your  needs.  Look  it  over 
.  .  .  then  talk  it  over  with  your  Kodak  dealer. 
He'll  be  glad  to  supply  you  with  lenses  that  will 
help  you  get  the  picture  .  .  .  every  time! 


KODAK   CINE   EKTAR    LENSES    FOR   16MM.    CAMERAS 


Width  of  Area 

Covered  at  Minimvi 

Focus  Distance 


Width  of  Area    Width  of  Area 


129.50 
139.50 


IS   YOUR   CAMERA   LISTED   HERE? 
If  it  is,  the  appropriate  odopter  w.ll 
equip  it  to  accept  Kodak  Cine  Lenses 


Bolex  H-16;  Cine-Kodak  Magazine  16;  Cine- 
Kodak  Model  E,  f/1.9;  Cine-Kodak  Model  K; 
Cine-Kodak  Royal,-  Cine-Kodok  Speciol  end 
Special  11/  Cinklox;  DeVry  Deluxe;  Filmo 
Autoload;  Filmo  Autoload  Speedsler;  Filmo 
Automaster;  Filmo  70,  70A,  70B,  70C  (except 
serial  nos.  46122  through  540891;  Filmo 
70D,  70E,  70F,  70G;  Filmo  141A  ond  141B; 
Keystone  A-7;  Revere  Models  C-16.  C-19. 
C-26,  and  C-29;  Victor  Models  3,  4,  ond  5. 


KODAK    CINE    EKTAR    LENSES    FOR    8MM.    CAMERAS 


Width  of  Ar> 

Covered  at  Min 

Focus  Diitan 


idth  of  Art 

Covered  a 

25  Feet 


Width  of  Arec 
overedot 
30  Feet 


IS  YOUR   CAMERA   LISTED   HERE? 

If  it  is,  the  «PP™P*0,»  V.°P  rfj 

equip  if  to  accept  Kodak  tine  ..«• 


Bolex  H-8;  Briskin;  Cine-Kodok  Reliant;  One- 
Kodak  Magazine  8;  Cine  Pertex;  Fronkto; 
Keystone;  Keystone   Magazine;  Re" 
Revere  99;  Stewart-Warner. 


of  lurroMyp,  camera,  should  moke  certain  before  buying  accessory  lenses  that  the  (urref  provides  adequate  optical  clearance. 

Prices  are  subject  to  change  without  notice.  Consult  your  Kodak  dealer. 


EKTAR:  TOP  QUALITY 


THE  most  important  characteristics  of  a 
lens  are  those  you  can  never  see.  Even  a 
photograph  like  this — an  actual  cross- 
section  of  the  Kodak  Cine  Ektar  25mm. 
//I. 4  Lens — can  only  suggest  the  skilled 
design,  the  precise  manufacture  .  .  .  the 
all-round  optical  excellence  .  .  .  that  are 
essentials  of  this  one  lens,  and  of  all  truly 
fine  optical  systems. 

For  characteristics  like  these,  only  the 
integrity  of  the  manufacturer  can  give  you 
full  assurance.  And  Ektar  Lenses— de- 
signed   and    produced    by    Kodak — are 


those  which  have  proved  so  excellent  in 
every  characteristic  that  they  have  earned 
Kodak's  highest  optical  designation. 

Kodak  Cine  Ektar  Lenses  provide  unique 
flatness  of  field  .  .  .  give  crisp  definition 
and  sparkling  sharpness  from  edge  to 
edge.  Rare-element  glass  helps  assure  top- 
quality  results,  even  under  adverse  light- 
ing. Because  Ektar  Lenses  are  fully  color 
correct— with  all  glass-air  surfaces  Lu- 
menized — your  shots  take  on  surprising 
brilliance  and  realism,  whether  color  or 
black-and-white. 


KODAK  EKTAR  CONVERTER 

This  handy  accessory  alters  the  effective  focal  length  of 
the  25mm. //1. 4  Ektar  Lens  to  15mm. — increases  field 
coverage  by  about  60%— without  loss  in  speed  or 
image  quality.  For  16mm.  cameras,  the  combination^ 
provides  a  standard  lens  and  a  wide  angle 
—both  uitbfll.4  speed . . .  both  with  Ektar 
quality!  Kodak  Ektar  Converter— S80, 
Federal  Tax  included. 


EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y. 


160 


GREAT  BRITAIN   BECKONS 

All  England  is  on  display  this  summer  at  the  Festival  of 
Britain.  Here's  the  What  and  Where  at  the  London  site 


STANLEY    W.    BOWLER,    F.R.P.S. 

ONE    hundred    years    ago,    in    the    then    spectacular 
Crystal  Palace  at  Hyde  Park,  England  marked  the 
climax  of  her  Industrial  Revolution  in  the  "Great 
Exhibition."  This  summer  she  marks  the  centenary  of  that 
historic  occasion  with  the  Festival  of  Britain. 

There  are,  however,  a  number  of  important  differences 
between  the  two  fetes.  The  Great  Exhibition  of  1851  was 
confined  solely  to  London.  The  Festival  of  Britain,  for 
1951,  will  spread  over  the  entire  United  Kingdom,  with 
every  locality  encouraged  to  add  its  own  individual  ac- 
tivities to  the  national  events.  The  keynote  of  the  1851 
Exhibition  was  Industry,  and  contributions  to  it  were 
invited  internationally.  The  1951  Festival  will  be  a  British 
event  only,  telling  the  story  of  British  contributions  to 
the  manifold  Arts  and  Sciences — as  well  as  Industry. 
And,  finally,  there  were  no  amateur  movies  in  1851,  while 
there  quite  definitely  are  such  today.  Thai's  why  we  think 
you  may  wish  this  summer  to  turn  your  vacation  camera 
toward  the  Festival  of  Britain. 

NO  RESTRICTIONS  ON  FILMING 
First  of  all.  I  think  you  will  be  interested  to  know  that 
an  assurance  has  been  given  me  by  the  Director  of  Public 
Relations  of  the  Festival  that  there  will  be  no  restrictions 
on  amateur  photography  and  cinematography  in  the 
various  exhibitions.  At  the  same  time,  as  supplies  of  mo- 
tion picture  film,  both  black  and  white  and  color,  are  not 
particularly  plentiful  here,  you  will  be  well  advised  to 
bring  a  reasonable  quantity  with  you  for  your  personal 
needs.  Don't  forget  to  declare  it  when  you  arrive.  You 
will  find  that  our  Customs  officers  are  quite  reasonable 
and  most  courteous  provided  you  do  that;  but  they  may 
not  be  so  helpful  if  you  attempt  to  "smuggle  in"  your 
supplies. 

LONDON  LINES  THE  THAMES 
Next  I  think  that  I  ought  to  explain,  for  the  benefit  of 
those  who  may  be  visiting  London  for  the  first  time,  that 
the  River  Thames  roughly  divides  London  into  two  parts. 
In  doing  so,  it  winds  about  in  tortuous  curves  so  that  at 
one  point  it  will  be  flowing  east  and  west  and  at  another 


Lt*^JyM@fe).: 


THE  TELECINEMA,  No.  21  on  the  plan  opposite,  will  house  large-screen 
TV   and    stereoscopic    movies.   The    Festival's   official    symbol   is   above. 


north  and  south.  The  main 
South  Bank  site  of  the 
Festival  is  situated  on  a 
great  curve  of  the  river 
between  Westminster 
Bridge  and  Waterloo 
Bridge  (see  Fig.  1).  Here 

the  river,  in  flowing  towards  the  sea,  goes  in  a  north- 
easterly direction  before  turning  more  easterly  towards 
the  City  of  London  proper. 

The  River  Thames  is  also  tidal,  so  that  at  various  times 
of  the  day  you  will  be  able  to  get  different  kinds  of  scenes 
depending  upon  the  height  of  the  river  and  the  direction 
of  the  sun.  The  river  also  carries  a  great  deal  of  com- 
mercial traffic;  powerful  river  tugs  bringing  up  strings 
of  heavily  laden  barges,  and  large,  coastal  coal  ships  (we 
call  them  colliers)  coming  from  the  north  of  England  with 
coal  for  the  power  stations  further  up  the  river. 

LOCATION  OF  FESTIVAL  SITE 

Starting  from  Westminster  Bridge  (see  Fig.  2),  we 
have  Westminster  Abbey  and  the  Houses  of  Parliament 
on  the  "north"  side  of  the  bridge,  and  St.  Thomas's  Hos- 
pital and  the  County  Hall  on  the  "south"  side.  The 
County  Hall  is  the  home  of  the  London  County  Council, 
which  is  the  governing  body  for  Greater  London.  The 
Festival  site  begins  just  the  other  side  of  County  Hall  and 
stretches  along  the  southern  bank  of  the  river,  past  Char- 
ing Cross  railway  bridge  to  Waterloo  Bridge.  Between 
these  bridges  are  the  landing  stages  of  the  Festival  site 
for  the  special  river  steamers  which  will  carry  visitors 
between  the  main  site  and  the  pleasure  gardens  further 
up  the  river  at  Battersea  Park. 

FOOTBRIDGES  HANDY   FOR   FILMING 

On  each  side  of  the  Hungerford  Bridge  (which  carries 
the  railway  from  Charing  Cross)  are  footbridges.  The 
one  on  the  Waterloo  Bridge  side  is  a  permanent  one  and 
leads  from  the  Victoria  Embankment  to  Waterloo  Station. 
I  have  mentioned  this  because  there  are  some  lovely  views 
of  the  London  skyline  to  be  obtained  from  this  footbridge 
■ — especially  at  dusk  when  the  lights  along  the  Embank- 
ment begin  to  glow  and  the  offices  are  lighted  up,  creating 
countless  reflections  in  the  river. 

The  footbridge  on  the  Westminster  Bridge  side  of  the 
Charing  Cross  railway  bridge  is  a  new  one,  specially  built 
for  the  Festival.  It  is  a  "Bailey  Bridge"  and  was  con- 
structed by  the  Royal  Engineers  (British  Army)  from  in- 
geniously designed  standardized  components,  such  as  are 
used  in  throwing  temporary  bridges  across  rivers  in  war- 
time. Access  to  this  new  bridge,  which  is  to  form  one  of 
the  entrances  to  the  Festival  site,  has  not  yet  been  pos- 
sible; but  I  should  imagine  that  some  good  shots  of  the 
exhibition  will  be  possible  from  it.  However,  in  the 
middle  of  the  day  the  site  will  be  cross  lit  (see  Fig.  2) 
and  a  good  lenshood  will  be  essential  if  first  class  results 
are  to  be  expected. 

It  is  not  until  fairly  late  in  the  afternoon  that  the  ex- 


161 


Illustrations  ©   Festhal  of  Britain 


hibition  buildings  are  lit  on  the  river  side.  Two 
problems  present  themselves  then :  first  of  all  the 
light  is  decreasing  in  value  so  that  you  will  need 
to  check  your  exposures  carefully,  and  secondly 
the  river  is  fairly  wide  opposite  the  main  part  of 
the  exhibition.  Therefore,  a  2x  or  a  3x  lens  will 
be  an  asset  if  you  want  to  get  more  than  a  general 
shot.  If  you  haven't  got  a  telephoto  lens,  then 
you  will  probably  find  that  it  is  possible  to  get 
some  shots  from  the  river  side  by  making  a  trip 
in  a  launch  or  pleasure  steamer. 

HIGHLIGHTS  OF  FESTIVAL  EXHIBITS 

But  enough  of  general  long  shots  of  the  Festi- 
val site.  Let  us  move  on  to  the  South  Bank  exhibi- 
tion itself.  Here  you  will  find  that  the  majority  of 
the  structures  are  new  in  conception  and  novel  in 
design;  steel,  wood,  glass  and  every  form  of  mod- 
ern constructional  material  are  combined  in  chal- 
lenging examples  of  architecture  for  the  future. 

The  Dome  of  Discovery  is  a  case  in  point. 
Here  is  the  biggest  dome  in  the  world,  built 
around  a  steel  retaining  ring  365  feet  in  diam- 
eter, with  slender,  openwork  girders  carrying  a 
light,  metal  sheath  for  a  roof.  The  Skylon.  nearby 
the  Dome,  is  a  tapered  and  incredibly  slender 
shaft  which  will  remind  American  visitors  of 
their  own  World's  Fair  trylon;  while  toward  the 
other  end  of  the  site  the  Shot  Tower  (conven- 
tional in  design)  is  capped  incongruously  with 
a  giant  radar  screen  which  will  send  signals  to 
the  moon. 

Almost  central  in  the  Festival  site  (flanking  the 
Hungerford  Bridge  at  its  inland  end)  stands  the 
Telecinema  pavilion.  Here,  for  the  first  time  any- 
where, large  screen  television  will  be  presented  as 
a  regular  part  of  theatrical  movie  programs — 
much  of  it  originating  directly  from  the  Festival 
grounds.  Also  of  interest  to  the  amateur  filmer 
will  be  presentations  of  three-dimensional  films 
in  color  (achieved  through  new  developments  in 
polarization),  which  will  be  accompanied  by 
"three  dimensional,"  or  stereophonic,  sound.  In 
this  latter  development,  all  of  the  sound  track 
or  any  desired  part  of  it  may  be  made  to  seem 
as  if  coming  from  every  side  of  the  spectator. 

HUMAN   INTEREST  AT   PLEASURE   GARDENS 

When,  as  inevitably  happens,  either  your  feet 
or  your  flagging  spirits  tire  at  the  South  Bank 
site,  take  a  trip  on  the  cooling  River  Thames  to 
the  Festival  Pleasure  Gardens,  at  Battersea  Park. 
Here,  in  a  beautiful  setting  of  trees,  lawns  and 
flowers,  spacious  courtyards  and  terraces,  foun- 
tains and  ornamental  lakes,  visitors  will  find 
rest,  refreshment  and  entertainment  to  suit  all 
tastes  and  ages. 

The  Pleasure  Gardens  may  well  be  the  para- 
mount site  for  good  picture  making.  For  among 
the  many  attractions  will  be  open-air  theatres, 
concerts,  beer  gardens,  a  dance  hall,  a  Fun  Fan- 
covering  six  acres  and  a  Children's  Zoo.  Restau- 
rants, cafes  and  bars  will  offer  food  and  drink  at 
various  prices,  while  by  night  illuminations  and 
fireworks  will  transform  the  Gardens  into  a 
fairyland  for  the  visiting  filmer. 

Sweeping  in  scope  as  the  Festival  may  be  (for 
its  non-London  aspects,      [Continued  on  page  169] 


FIG.   1:  The  Festival  site  flanks  the  Thames  between   Westminster  and   Waterloo   Bridges. 


DOWNSTREAM 
TO   ST  PAUL'S. 


MORNING. 


CHA  RING- 
CROSS. 


HOUSES   OF 
PARLIAMENT. 


FIG.  2:  The  Festival  plan.  1)  Chicheley  Street  Gate;  2)  Information  and  P.  O.;  3)  Fairway 
Cafe;  4)  Station  Gate;  5)  Land  of  Britain;  6)  The  Natural  Scene;  7)  Minerals;  8)  Power  and 
Production;  9)  '51  Bar;  10)  Sea  and  Ships;  11)  Dome  of  Discovery;  12)  Transport;  13)  Regatta 
Cafe;  14)  Skylon;  15)  Nelson  Pier;  16)  G.H.Q.;  17)  People  of  Britain;  18)  Lion  and  Unicorn; 
19)  Unicorn  Cafe;  20)  Television;  21)  Telecinema;  22)  Locomotives;  23)  Police;  24)  Homes; 
25)  Court;  26)  Staff;  27)  Festival  Hall;  28)  Seaside;  29)  1851  Centenary;  30)  Shot  Tower;  31) 
Waterloo  Gate;  32)  Harbour  Bar;  33)  Health;  34)  Thames  Cafe;  35)  Sports;  36)  Rodney  Pier. 


162 


THE  PERSONAL  TOUCH 

You,   too,   can  be  the   life  of  your   picture    party — with    a    little    creative    faking 

HARRY    ARCHER 


HAVE  you  ever  fought  a  bull?  Worked  as  a  riveter 
on  the  upper  reaches  of  a  skyscraper?  Beaten  Riggs 
at  tennis? 
I  have.  And  I  have  my  movies  to  prove  it. 
It  all  started  when  I  was  working  in  England  and  four 
of  us  took  a  motor  trip  to  Spain  and  North  Africa.  We  were 
looking  forward  to  seeing  and  filming  our  first  bullfight, 
when  my  wife  said  "Why  don't  you  get  in  there  and  fight 
me  a  bull?  We'll  stay  in  the  stands  and  take  your  pic- 
ture." It  occurred  to  us  then  that  unusual  events  and  occu- 
pations could  be  made  a  lot  more  interesting  in  our  mov- 
ies if  we  made  it  appear  that  we  were  taking  part  in  them. 

THE  MOVIE  MATADOR 

And  so  our  program  of  "'the  personal  touch"  began 
there  in  Madrid.  We  rented  a  matador's  costume  for  me 
($2.50  including  the  cost  of  letting  out  the  seat  of  the 
pants)  and  then  persuaded  the  custodian  of  the  bull  ring 
to  let  us  in  when  nobody  else  was  about.  There  we  took 
pictures  of  myself  in  the  ring,  flaunting  my  cape,  pirou- 
etting gracefully  away  from  an  imaginary  bull,  lunging 
with  my  sword,  acknowledging  the  cheers  from  empty 
stands. 

The  next  day  brought  the  real  bullfight  and  we  were 
in  the  front  row,  with  our  backs  to  the  sun.  We  ran  off 
five  rolls  of  the  genuine  article,  emphasizing  distant  shots 
of  a  real  bullfighter  in  the  same  colored  costume  that  I 
had  worn  the  day  before.  Also  sought  were  closeup  scenes 
of  the  enraged  bull  charging  directly  towards  the  camera 
and  shots  of  the  crowds  clapping  their  hands  to  bloody 
pulps. 

Later,  in  Madrid  and  even  after  we  got  back  to  Lon- 
don, we  shot  some  continuity  connectives  and  we  were 
ready  for  the  editor.  Briefly,  then,  the  scenario  ran  like 
this.  We  arrive  at  the  bull  ring  and,  after  a  short  argu- 
ment, I  bet  I  can  fight  a  bull  or  my  name  ain't  Alfonso 
Orhay  Francesco  de  Merida  y  San  Diego.  I  persuade  the 
doorman  at  the  rear  gate  to  let  me  in  and  give  me  a  few 
pointers  on  how  to  handle  the  cape  and  sword,  while 
the  others  go  in  the  main  gate  and  watch  the  preliminaries. 
Here  we  used  the  real  fight  scenes  that  didn't  fit  into  our 
plot. 

Then,  the  big  moment.  Two  huge,  bright-red.  wooden 
doors  swing  slowly  open,  admitting  the  hero  to  the  ring. 
Thunderous  applause  from  the  crowds.  Wife  looking 
worried,  wondering  if  my  insurance  is  paid  up.  The  gate 
to  the  bull  pen  opens  and  in  comes  the  biggest  hunk  of 
mayhem  on  the  hoof  you've  ever  seen.  The  fight  is  on. 
There  is  a  long  shot  of  the  bull  bearing  down  on  the  lone, 
brave  figure  in  blue.  Closeup  of  me  looking  grim  but  de- 
termined. Then  the  bull  charging  right  off  the  screen  into 
the  laps  of  our  audience.  I  step  nimbly  aside,  followed  by 
a  long  shot  of  the  bull  lunging  on  past  the  matador.  And 
so  on,  until  the  crucial  moment  when  I  speed  the  bull  from 
this  into  a  better  world.  Frenzied  acclaim.  Wife  overjoyed 
.  .  .  They  loved  me  in  Madrid ! 

It  took  a  lot  of  advance  planning  and  a  lot  of  our 
meager  time  in  Madrid.  And  it  took  several  weeks  of 
evenings  huddled  over  the  editor.  Of  course,  nobody 
believes  that  I  was  a  brave  enough — and  not  many  think 


I  was  stupid  enough — to  get  into  the  ring  with  a  bull; 
but  I  can  think  of  no  more  interesting  way  of  showing 
a  bullfight  to  your  friends. 

DAVIS  CUP  DIDOS 
Seriously,  why  not  try  this  kind  of  treatment?  If  you're 
a  tennis  fan,  why  not  knock  off  a  few  of  the  seeded  play- 
ers at  Forest  Hills?  A  shot  of  the  sign  at  the  gate  estab- 
lishes the  locale.  The  champ  walks .  onto  the  courts  and 
the  camera  swings  to  another  entrance  from  which  you 
emerge  with  sixty  or  seventy  racquets  carried  negligently 
under  one  arm.  Then  a  distant  scene  of  the  two  great 
finalists  shaking  hands  before  the  start  of  the  match.  The 
champ  wins  the  serve  and  blasts  one  right  down  the  line. 
A  closeup  of  you,  coolly  confident,  returning  same  with 
ease.  A  distant  shot  of  a  frenzied  volley.  A  closeup  of  you 
really  pasting  one  into  his  teeth  and  a  closeup  of  him 
flubbing  it.  Cheers  from  the  stands.  And  there  you  are. 
selected  for  the  Davis  Cup  team.  Incidentally,  there  are 
novelty  shops  in  many  major  cities  where  you  can  get 
a  dummy  newspaper  printed  with  any  headline  you  want 
for  fifty  cents  to  a  dollar.  Use  one  of  them.  "BLOTZ  TO 
CAPTAIN  DAVIS  CUP  TEAM"  will  really  put  over  your 
personal  touch  treatment. 

INGENUITY  AT  INDIANAPOLIS 

Or  perhaps  you'd  prefer  to  be  an  ace  racing  driver 
at  the  Indianapolis  Speedway.  Granted,  most  home  movie 
fans  own  few  if  any  racing  cars.  But  that's  no  barrier. 
A  polite,  personal  request  to  one  of  the  real  drivers  should 
net  you  five  minutes  with  his  car.  We  have  found  most 
people  under  such  circumstances  amused  but  helpful, 
slightly  flattered  at  our  interest  in  them  and  as  curious 
about  our  hobby  as  we  are  about  their  activity.  Shots  of 
you  checking  over  the  engine,  getting  in,  starting  up, 
stopping  and  getting  out  are  about  all  that's  needed.  The 
remainder  can  be  actual  scenes  of  the  race,  shots  of  the 
crowds  cheering  and  quick  closeups  of  "your"  car  actually 
in  the  race.  If  your  camera  angle  for  these  closeups  is 
well  chosen,  it  will  be  impossible  to  identify  the  helmeted 
driver. 

A  little  ingenuity  can  add  a  lot  of  realism  to  such  a  race 
scene.  For  example,  take  an  up-angle  shot  of  you  in  the 
car  so  that  no  background  is  showing.  Then  a  helper  with 
an  electric  fan  can  blow  loose  dirt  between  you  and  the 
camera  giving  the  illusion  of  speed.  By  thinking  out  in 
advance  exactly  what  is  to  be  done,  such  props  can  be  on 
hand  and  your  time  with  the  car  cut  to  a  minimum. 

Two  words  of  warning  in  using  this  device.  First,  re- 
member that  you  are  trying  to  show  some  significant 
event  and  your  part  in  it  is  just  a  gimmick  to  add  interest. 
Don't  let  the  faking  run  away  with  you  to  the  extent  that 
the  whole  reel  is  devoted  to  you,  with  the  authentic  scenes 
used  only  as  background.  Good  looking  as  you  no  doubt 
are,  your  appearance  in  the  show  is  incidental. 

The  other  warning  is  against  devoting  too  much  of  your 
film  library  to  such  stunts.  The  first  time  you  use  it,  it's 
hilarious.  The  second  and  third  can  still  be  funny.  After 
that,  like  any  device,  it  gets  just  plain  boring. 

See  you  at  the  Rose  Bowl  Game. 


163 


Clini 


TRAVEL  TRANSITION 

With  the  big  summer  travel  season 
coming  up.  it  occurred  to  me  that  fel- 
low filmers  might  be  interested  in  the 
transition  scenes  I  ran  off  this  winter 
for  last  summer's  trip  to  the  West 
Coast.  Here  was  the  setup  .  .  . 

First,  against  the  background  of  an 
Esso  road  map.  I  filmed  a  toy  auto- 
mobile as  it  moved  from  my  starting 
point  (New  York  City  I  to  the  trip's 
end  I  Mt.  Rainier  I .  The  smooth  move- 
ment of  the  toy  auto  was  created  by 
pulling  it  across  the  map  hitched  to 
an  eleetric  motor  drive. 

This  background  footage  was  then 
wound  back  to  the  starting  point. 
Now,  shooting  in  short  takes  of  a 
fade-in.  full  exposure  and  fade-out, 
I  double  exposed  a  series  of  state  auto 
license  plates  under  appropriate  points 
in  the  car's  route.  These  takes,  of 
course,  were  then  cut  up  and  spliced 
in  as  needed  in  the  unfolding  of  the 
trip  film. 

For  an  end  title,  I  used  a  sunset 
as  a  background,  and  double  exposed 
over  it  the  map,  the  returning  toy  auto 
and  "The  End"  in  white  block  letters. 
Oscar  Keller.  ACL 
Clifton.  N.  J. 

REEL   ALIGNMENT   GAUGE 

Few  home  projectionists  realize  the 
danger  to  their  films  that  a  wavy-sided 
reel  can  create.  The  edges  of  the  film 
are  scraped,  the  pinched  portions  set 


, 

i — 

065 

— 

•r 

i 

> 

o 

V 

o 

i 

j 

' 

up  momentary  cinching  of  film  layers 
underneath,  while  the  loose  sections 
tend  to  create  a  loosened  takeup  con- 
dition on  the  reel. 

A  useful  "L"  shaped  gauge  for 
aligning  reel  sides  can  be  cut  easily 
from  stout  cardboard  with  a  razor 
blade,  the  diagram  showing  the  di- 
mensions. This  gives  a  useful  size  for 
most  400  foot  16mm.  reels  I  have 
measured,  the  width  of  the  small  arm 
of  the  "L"  being  the  only  critical 
figure.  As  noted,  this  is  .65  of  an  inch 
at  the  core  and  represents  the  correct 
spacing  of  the  two  reel  flanges.  You'd 
halve  this  dimension  for  Eight.  I'd 
expect. 

To  use  this  gauge,  first  true  up  one 
side  of  the  reel  as  you  turn  it  slowlv 
on  a  rewind  or  projector  arm.  Gentle 
bending  only,  please,  on  the  wavy  por- 
tions until  the  side  selected  runs  true. 
Then  place  this  trued-up  side  flat  on 
a  table.  Inserting  the  narrow  arm  of 
the  gauge  between  the  reel  flanges. 
check  with  it  around  the  entire  cir- 
cumference, trueing  as  you  go. 

Neal  Du  Brey,  ACL 
Durban.  South  Africa 

Reels,  of  course,  differ  in  certain  of  their 
dimensions,  depending  on  their  manu- 
facturer. While  the  .65  of  an  inch  will 
remain  standard  on  all  reels,  our  measure- 
ments of  a  few  reels  here  show  that  the 
depth  from  core  to  outer  perimeter  of  the 
flange  varies.  The  greatest  depth  we  en- 
countered (on  a  400  foot  16mm.  reel) 
was  2%  inches.  Thus,  the  dimension  of 
2  inches  assigned  on  the  diagram  for  the 
length  of  the  short  arm  should  vary  in 
accord   with   the  reels  you   are  using. 

SPLICER   CHECK-UP 

Are  your  splices  causing  clicks. 
jumps  or  even  breaking  apart  as  they 
run  through  your  projector?  Could 
be,  then,  that  the  registration  pins  on 
your  splicer  are  getting  out  of  line. 
Should  this  be  the  case,  the  superim- 
posed perforations  of  the  splice  will 
no  longer  be  directly  aligned,  thus 
causing  your  difficulties.  Here's  how 
to  check  splicer  alignment. 


Pictures,  plans  and  ideas  to 
solve  your  filming  problems 


ALIGNMENT  GAUGE,  cut  from  stiff  cardboard 
with  a  razor  blade,  is  useful  accessory  for 
truing    up    bent    flanges    of    projection     reels. 


WANT  TO  JOIN  A  MOVIE  CLUB? 
Write  to  the  ACL  for  the  address 
of  the  club  nearest  you.  If  there  is 
no  club  active  in  your  community, 
we'll  send  you  free  a  detailed  bul- 
letin on  how  to  get  one  going. 
Address :  Clubs,  Amateur  Cinema 
League,  420  Lexington  Avenue. 
New  York  17,  N.  Y. 


CONTRIBUTORS  TO 

The  Clinic  are  paid  from  $2.00  to  $5.00 
for  ideas   and  illustrations  published. 

Your  contributions  are  cordially  in- 
vited. Address  them  to:  The  Clinic, 
Movie  Makers.  420  Lexington  Avenue, 
New  York  17,  N.  Y. 


Please     do     not     submit     identical    items    to 
other   magazines. 


Take  a  short  piece  of  opaque  white 
leader  and  splice  onto  this  a  scrap 
of  black  leader — or  other  badly  un- 
derexposed footage.  Do  not  scrape 
the  end  of  either  film  in  making  this 
splice!  They'll  stick  without  scraping 
if  you  splice  them  base  to  base  (shiny 
to  shiny ) . 

When  the  splice  is  dry.  examine  it 
carefully  (with  the  black  strip  on  top  I 
to  see  whether  any  edges  of  the  white 
film  are  showing  through  the  per- 
forations. A  hand  magnifying  glass 
is  often  an  aid  in  this  operation. 

If  any  white  area  is  protruding  be- 
yond the  perforation  outlines  of  the 
black  film,  your  registration  pins  are 
getting  out  of  line.  You  may  be  able 
to  re-align  them  yourself.  But  if  the 
condition  is  extreme,  better  send  your 
splicer  to  the  manufacturer  for  repair. 
Herbert  A.  MacDonough.  ACL 
Binghamton,  N.  Y. 

HANDY   FILM   CAN 

Here's  a  tip  for  temporary  film 
storage.  Keep  your  eye  open  for  cel- 
lulose tape  cans  of  the  No.  600  size. 
I  find  that  they  hold  nicely  a  200  foot 
8mm.  reel  and  can  be  adapted  to  take 
two  reels  with  only  slight  modifica- 
tion. 

Lester  A.  Weiss.  ACL 
Kalamazoo.  Mich. 


ACL  moves  up  Effective  as  you 
read  this,  the  of- 
fices of  the  Amateur  Cinema  League 
and  Movie  Makers  will  have  been 
moved  from  the  fifth  floor  (Room  519) 
to  the  seventeenth  floor  (Room  1714) 
of  the  Graybar  Building.  Same  old  ad- 
dress, and  the  same  phone  number,  of 
course.  Just  more  light  and  air.  less 
noise  and  dirt.  Drop  in  and  see  us  next 
time  vou're  in  the  neighborhood. 


164 


MAY   1951 


News  of 
the  Industry 

Up  to  the  minute  reports 
on  new  products  and 
services  in  the  movie  field 


Castle  display  A  revolving  rack 
to  hold  a  display 
of  Castle  Films  is  available  to  dealers, 
making  it  easier  for  customers  to  choose 
from  the  titles  shown.  Tests  have  indi- 
cated that  greatly  increased  sales  result 
from  the  new  arrangement,  which  takes 
up  little  counter  space. 

Castle  is  absorbing  all  designing  and 
manufacturing  costs,  but  dealers  who 
order  a  rack  will  be  charged  $2.50  to 
cover  handling  and  packing  charges. 
Further  details  may  be  obtained  from 
Murray  Goodman,  Castle  Films.  1445 
Park  Avenue.  New  York  29,  N.  Y. 

EfCOno  Two  new  German  still  cam- 
eras are  being  distributed 
in  America  by  Ercona  Camera  Corpora- 
tion, 527  Fifth  Avenue,  New  York  17, 
N.  Y.  The  Welti  35mm.  camera  has  a 
coated  //3.5  Carl  Zeiss  Tessar  lens  and 
speeds  from  one  second  to  1/500.  It  is 
priced  at  $79.00  tax  included. 

The  Weltax  is  a  roll  film  camera  us- 
ing No.  120  film.  It  has  a  coated  Meritar 


PANRITE  MODEL  BG,  a  gear-driven  tripod  head,  is  at 
left;  $7.95  plus  tax.  The  Model  C  Panrite,  a  light- 
weight, conventional  head,  is  at  right;  $2.95  and  tax. 


KODASLIDE  MERIT,  a  low-cost,  2x2  inch  slide  pro- 
jector, has  new  feed  design  for  greater  image  stead- 
iness.   The    Merit    is    $24.50;    the    case,    $9.50    extra. 


//3.5  lens  and  speeds  of  one  second  to 
1/250  at  a  price  of  $59.50;  with  coated 
Carl  Zeiss  Tessar  and  speeds  of  one 
second  to  1/400.  the  camera  sells  for 
$99.50. 

Wide  angle  for  8      The  Elgeet 

Optical  Com- 
pany. Rochester,  N.  Y.,  introduces  a 
new  wide  angle  lens  for  8mm.  cameras 
that  is  said  to  be  the  fastest  objective 
of  its  type  available. 

The  7.5mm.  //1.5  covers  four  times 
the  area  of  the  standard  x/^  inch  lens. 
This  new  coated  lens  has  click  stops 
and  a  focusing  range  from  infinity  to 
\y<l  feet;  it  is  provided  with  a  filter  re- 
taining ring  to  take  21.5mm.  diameter 
filters.  Price  of  this  new  Elgeet  lens  is 
$77.85.  including  tax. 

E.  K.  Merit  A  new  slide  projector 
in  the  low  cost  field  has 
been  brought  out  by  Eastman  Kodak 
Company.  The  Kodaslide  Merit  pro- 
jector features  a  feeding  mechanism 
that  pushes  slides  down  into  the  pro- 
jector rather  than  from  either  side.  This 
feature  is  said  to  minimize  image  move- 
ment on  the  screen  when  slides  are 
changed. 

The  Merit  has  a  5  inch  //3.5  Kodak 
Ektanon  lens  and  uses  a  150  watt  stand- 
ard voltage,  bayonet-base  projection 
lamp;  it  has  an  11  foot  cord  with 
switch  and  may  be  operated  on  AC  or 
DC,  100  to  250  volts.  The  machine  is 
priced  at  $24.50. 

Gear  panhead  Testrite  Instru- 
ment Company, 
57  East  11th  Street,  New  York  3,  N.  Y., 
announces  its  new  Model  BG  Panrite, 
a  tripod  head  incorporating  a  gear 
drive.  It  accepts  any  8mm.  or  16mm. 
camera  and  may  be  used  on  any  stand- 
ard tripod  base.  The  Model  BG  Panrite 
is  priced  at  $7.95,  plus  tax;  further 
details  may  be  had  from  the  manufac- 
turer. 

Sixtomat  A  photoelectric  expos- 
ure meter  of  universal 
application  for  movies  and  stills  is  be- 
ing imported  from  Germany  by  Mitropa 
Corporation,  50  Broadway,  New  York 
4,  N.  Y.  The  Sixtomat  measures  film 
speeds  in  ASA  ratings  as  well  as  Ger- 
man DIN  degrees.  Since  the  delicate 
components  of  the  meter  are  shielded 
by  a  roller  blind  arrangement  when  not 
in  use,  the  instrument  does  not  need  a 
protecting  case.  It  is  priced  at  $32.50. 
Further  details  may  be  obtained  from 
the  Mitropa  Corporation. 

DeJur  On  TV  "Television  is  the 
newest  medium  to 
sell  DeJur  photographic  equipment," 
states  Bernard  Deitchman.  general  sales 
manager  of  Dejur-Amsco  Corporation, 
Long  Island  City,  N.  Y.  Stations  in  New 
York,  Chicago  and  Los  Angeles  carry 


ELGEET  WIDE  ANGLE,  named  fastest  in  the 
field  for  8mm.  cameras,  has  f/1.5  aperture 
and   7.5mm.   focal   length   at   $77.85,  tax   inc. 


announcements  on  Wednesdays,  Thurs- 
days and  Fridays  around  noontime  and 
show  short  films  of  typical  home  movie 
scenes.  Photographic  stores  within  a  50 
mile  radius  of  the  areas  are  being  in- 
tegrated with  the  program. 

B&H  booklet  Tips  on  Movie  Cam- 
era Lenses  and  Fil- 
ters, a  32  page  booklet  on  the  use  of 
lenses  and  filters,  has  just  been  pub- 
lished by  Bell  &  Howell  Company,  Chi- 
cago, 111.  Couched  in  simple  language, 
this  booklet  tells  why.  where  and  when 
to  use  various  lenses,  including  wide 
angle  and  telephoto,  and  filters.  It  is 
available  at  photographic  dealers. 

Sianet  35  Eastman  Kodak  Com- 
pany, Rochester,  N.  Y., 
announces  a  new  35mm.  still  camera, 
the  Kodak  Signet  35.  It  is  equipped 
with  a  44mm.  Lumenized  Ektar  //3.5 
lens  and  has  speeds  from  1/25  to  1/300 
of  a  second.  It  has  built-in  flash  syn- 
chronization as  well  as  built-in  range 
finder.  It  uses  either  20  or  36  exposure 
cassettes  of  No.  135  film  and  is  priced 
at  $95.00  including  tax. 

Color  meter     Heitz  and  Lightbum, 

150  West  54th  Street. 
New  York  19.  N.  Y.,  are  distributors  of 
a  new  color  temperature  meter,  the 
Rebikoff,  manufactured  in  Switzerland. 
This  meter  measures  color  temperature 
in  degrees  Kelvin. 

In    operation,    the    dial    face    of    the 


SIXTOMAT  METER,  streamlined,  palm-sized 
and  with  high-low  exposure  scales,  is  im- 
ported from  Germany  by  the  Mitropa  Corpora- 
tion,   New    York    City.    The    price    is    $32.50. 


MOVIE    MAKERS 


165 


meter,  with  its  two  photoelectric  cells, 
is  directed  perpendicularly  toward  the 
light  source,  while  the  dial  itself  is 
turned  until  the  needle  points  to  a 
black  mark  in  the  center.  A  red  arrow 
then  gives  a  direct  reading  of  the  color 
temperature. 

Weighing  5  ounces  and  measuring 
2%  by  3%  by  V-/s  inches,  the  meter  is 
priced  at  $54.00  plus  tax. 

Further  details  may  be  obtained 
from  Heitz  and  Lightburn. 

Correction  Prices  of  the  Baja  pro- 
jector and  reel  cases  in 
the  Barnett  &  Jaffe  advertisement  in 
the  April  issue  of  Movie  Makers  were 
incorrect,  through  no  fault  of  this  pub- 
lication. 

The  correct  price  of  the  Baja  projec- 
tor and  reel  case  for  the  Revere  8  pro- 
jector is  $18.00;  correct  price  for  the 
Baja  reel  case  is  $8.15.  Both  products 
are  marketed  by  Barnett  &  Jaffe,  637 
Arch  Street.  Philadelphia  6.  Pa. 


Rush   guide 


A  new  exposure 
guide,  made  of  plastic 
and  with  a  slide-rule  principle,  is  of- 
fered by  Rush  Photo  Guide,  104  South 
State  Street,  Syracuse  2,  N.  Y.  It  pro- 
vides calculations  for  exposure  in  day- 
light, flashlight  or  floodlight,  for  movies 
or  stills.  Priced  at  $1.50,  it  is  available 
only  from  the  manufacturer  at  the  pres- 
ent time. 


Now  for  Nova  Scotia! 

[Continued  from  page  151] 

artists  and  amateur  movie  makers  alike. 
Treeless,  its  tiny,  neat  homes  perched 
precariously  on  great  slabs  of  granite 
worn  smooth  by  time  and  the  tireless 
fury  of  Atlantic  breakers,  Peggy's  Cove 
once  discovered  cannot  be  forgotten. 
Like  the  stone  lighthouse  anchored  solid- 
ly to  the  granite  base,  you  too  become 
bound  to  Peggy's  Cove.  "If  there  is  any- 
thing obligatory  for  an  artist  to  do  it  is 
to  paint  Peggy's  Cove."  says  T.  Morris 
Longstreth,  Philadelphia-born  writer,  in 
his  book,  To  Nova  Scotia.  Being  a 
movie  maker  ourself.  we  can  safely  say 
the  same  for  the  amateur  cameraman. 

LOBSTERS  AND  HIGHLAND  FLINGS 
Highways  6  and  4  lead  along  Nova 
Scotia's  northern  shore  and  Northum- 
berland Strait.  At  Pictou  the  annual 
Lobster  Carnival  is  staged.  Everybody 
eats  lobster  that  day.  Stalls  on  the 
square,  flanking  the  sidewalks,  by  the 
waterfront,  anywhere,  everywhere,  sell 
the  treat  so  reasonably  that  little  groups 
sit  around  under  the  trees  eating  from 
paper  plates.  Lobster  boats  race  in  the 
harbor.  The  big  parade  usually  has  a 
gigantic  "king"  lobster  covering  a  truck. 
On  from  Pictou  is  Antigonish,  where 
the  annual  Highland  Games  are  a  July 
feature.    Massed    pipe    bands    display 


bright  colors  against  the  greensward. 
The  running  and  jumping,  pole  vault- 
ing, shot  putting  and  caber-tossing 
events  are  spaced  with  contests  in  High- 
land dancing.  Your  camera  will  hum 
with  action  when  the  Highland  fling 
and  various  reels  are  danced  by  comely 
Nova  Scotia  lassies  wearing  their  fa- 
vorite tartans.  The  visitor  gets  the  im- 
pression that  half  Antigonish  must  be 
Scottish,  and  he  is  quite  correct. 

Keep  on  Highway  4  and  cross  the 
Strait  of  Canso — a  short  ferry  ride — to 
bonny  Cape  Breton  Island.  Here  you 
will  find  ancient  fortress  ruins  at  Louis- 
bourg,  yacht  racing  at  Baddeck,  a  pic- 
ture postcard  village,  and.  twelve  miles 
from  Baddeck.  the  famous  Gaelic  Mod 
that  draws  thousands  to  Nova  Scotia 
each  August.  Every  plaid  that  Scotland 
knows  is  on  view  during  the  Mod  week. 
Highland  dancers  by  the  dozen  take 
part.  Pipers  wearing  every  tartan  do 
their  struts  across  the  platforms.  There 
are  oldtime  fiddlers  and  step  dancers. 
And  the  entire  business  is  staged  out- 
doors on  a  beautiful  slope  above  the 
silvery  waters  of  St.  Ann  Bay.  It's  a 
setting  that  sends  the  average  artist 
into  raptures,  and  more  feet  of  color 
film  are  used  at  the  Mod  than  at  any 
other  public  event  in  eastern  Canada. 

The  famed  Cabot  Trail  leads  by  the 
Mod.  Follow  it  around  and  in  August 
your  luck  will  never  leave  you.  The 
weather  will  be  glorious.  You  can  catch 


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166 


MAY   1951 


the  salmon  anglers  at  the  hest  pools  on 
the  Margaree.  You  can  film  the  women 
of  Cheticamp  hooking  rugs  out  of  doors 
on  fine  afternoons.  If  you  like  filming  a 
handicraft,  in  fact,  you  can  get  grand 
shots  at  the  Mod  where  the  weaving  of 
tartans  goes  on  all  summer. 

And  so  it  goes  in  Nova  Scotia  for  the 
visiting  cameraman.  Your  welcome  will 
be  warm,  the  weather  just  pleasantly 
cool.  If  you're  one  of  +hose  inveterate 
travelers  who  have  "been  everywhere 
and  seen  everything,"  why  not  this  sum- 
mer make  it  Now,  for  Nova  Scotia! 

Magnetic  recording 

[Continued  from   page  157] 

wire  on  a  30  minute  spool  of  wire  and 
found  that  the  film  ran  16  minutes  and 
20  seconds.  I  then  made  up  the  final 
recording  on  a  one  hour  spool  of  wire, 
ran  it  against  the  film  and,  so  help  me, 
the  music  ended  7  or  8  seconds  before 
the  film  did !  The  answer  lies  in  the 
fact  that  the  recorder  is  not  driven  by 
a  synchronous  motor.  Since  I  had  used 
a  one  hour  spool  of  wire  for  my  final 
recording,  the  extra  weight  of  the 
heavier  spool  created  more  drag  and 
caused  the  recorder  to  run  slower.  I  had 
16  minutes  and  20  seconds  of  music  on 
the  wire  all  right.  But  in  running  slower, 
the  takeup  spool  with  the  strobe  disc 
made  fewer  revolutions,  and  the  film 
speed  through  the  projector  gate  was 
slower  than  when  the  lighter  weight 
timing  wire  was  used.  Moral — make  the 
final  recording  on  a  wire  which  is  the 
same  length  as  the  timing  wire. 

Failure  to  allow  the  recorder  to  warm 
up  sufficiently  before  making  either  tim- 
ing wires  or  final  recordings  may  cause 
difficulty.  Sometimes  it  is  necessary  to 
let  a  machine  run  15  or  20  minutes 
before  it  settles  down  to  a  constant 
speed.  To  determine  stability,  and  as  a 
further  check  on  my  wires,  I  use  a 
signal — such  as  the  word  "stop" — at  the 
conclusion  of  the  wire. 

MAKING  A  TIMING  WIRE 
In  making  a  timing  wire,  first  I  posi- 
tion the  film  at  the  sync  mark,  then  start 
it   and   an   electric   clock  on   the  word 


"go."  When  the  film  has  finished,  I  let 
the  wire  run  until  I  turn  on  the  light, 
look  at  the  clock  and  record  on  the  wire 
something  like  "Stop!  Time  17  minutes 
and  no  seconds."  Now  I  have  two  points 
of  reference  on  the  wire  exactly  17 
minutes  apart.  When  I  listen  to  the  wire 
to  check  the  time  of  scene  changes,  etc., 
I  know  I  am  all  right  when  the  word 
"stop"  hits  17  minutes  and  no  seconds 
exactly.  If  the  final  recording  is  made 
on  the  same  wire,  the  same  signals  indi- 
cate, without  checking  against  the  film, 
whether  or  not  I  am  on  time. 

TOO  SHORT  OR  TOO  LONG? 

But  despite  all  precautions,  sometime 
you  may  make  a  recording  that  is  off 
a  few  seconds  at  the  end.  Don't  erase  it 
until  you  have  considered  these  methods 
of  salvaging  it.  If  the  recording  is  too 
short,  remember  that  it  may  be  possible 
to  snip  a  little  film  here  and  there  to 
make  it  time  perfectly.  Two  feet  of  film 
cut  from  400  is  not  much,  but  it  will 
reduce  the  running  time  three  to  five 
seconds,  depending  on  projection  speed. 
And  what  if  the  recording  is  too  long? 
While  you  cannot  make  the  takeup 
spool  revolve  faster,  you  can  make  it 
wind  the  wire  faster  by  temporarily 
building  up  the  diameter  of  the  takeup 
spool.  This  I  do  by  attaching  to  the 
front  end  of  the  wire  a  length  of  larger 
diameter  leader.  Six  or  seven  feet  of 
silk  fish  line  adorn  one  of  my  wires 
for  an  800  foot  film,  and  it  hasn't  missed 
synchronization  in  three  years! 

DUPLICATE  RECORDINGS 
Or  are  you  worried  about  that  record- 
ing that  took  so  much  time  and  trouble 
to  make?  Well,  why  not  copy  it?  Using 
the  L  pad  previously  mentioned,  and  a 
friend's  recorder,  play  the  recording 
onto  a  clean  wire.  It  will  be  difficult  to 
tell  the  original  from  the  duplicate.  But 
there  is  one  trick  on  which  success  de- 
pends. Both  recorders  must  run  at  exact- 
ly the  same  speed.  Finding  two  such 
machines  is  probably  an  impossibility, 
but  a  simple  method  will  synchronize 
them. 

The  basic  ingredient  is  a  rubber  disc 
fitted  with  a  short  shaft  to  serve  as  a 
bearing   (see  Fig.  4).  It  can  be  found 


WpP^ 


FIGS.  4  &  5:  A  rubber  disc 
(above),  mounted  on  the  pie- 
cut  pedestal,  is  positioned 
to  ride  against  takeup  drums 
of  two  recorders  (left),  to 
keep  them  in  step  for  duping. 


in  a  good  hardware  store  where  it  is 
sold  as  part  of  a  sander  for  an  electric 
drill.  Mounted  as  shown  in  Fig.  5,  with 
a  piece  of  garden  hose  in  the  pedestal 
to  give  flexibility,  the  rubber  disc  rides 
against  the  takeup  drums  of  both  ma- 
chines and  thereby  keeps  them  in  step. 
Since  the  drive  in  most  recorders  is  a 
friction  type,  the  same  as  in  disc  turn- 
tables, no  harm  is  done  by  slightly 
changing  the  natural  speed  of  the  take- 
up  drum. 

Finally,  in  preparing  a  wire,  con- 
sideration should  be  given  to  the  fol- 
lowing: 

1.  Score  the  film,  or  edit  it,  so  that 
inept  music  changes  will  not  be  noticed 
if  they  fail  to  come  in  at  the  exact  split 
second. 

2.  Don't  write  the  narration  too  tight- 
ly— allow  at  least  one  second  leeway 
at  each  end  of  a  passage  of  narration, 
to  be  sure  it  will  fit  the  scene  without 
overlap  at  either  end. 

3.  Put  a  punch  mark  in  the  film  lead- 
er, so  that  the  start  point  cannot  be 
missed. 

4.  Have  a  musical  note,  or  the  word 
"go"  on  the  wire  to  correspond  to  the 
sync  mark  on  the  film. 

Aim  for  the  camper! 

[Continued  from  page  153] 

period  after  lunch,  when  Eddie  Slattum 
tickles  his  bunk  mate's  nose  with  a  fern 
— and  somebody  sticks  a  road  sign  on 
the  door,  Slow  Boys  Camp. 

Here's  how  it  was  done  in  that  film 
of  mine. 

The  planned  activities  of  the  camp 
were  treated  in  full.  But  every  chance 
for  a  little  harmless  tomfoolery  was 
made  the  most  of.  In  showing  how  the 
boys  took  their  wash  to  the  laundry,  for 
instance,  the  sequence  began  with  the 
smallest  boy  in  camp  struggling  up  the 
hill  with  a  huge  bag  of  laundry  over  his 
shoulders.  He  was  overtaken  by  the 
largest  boy  in  camp,  who  was  carrying 
virtually  nothing.  The  large  boy  turned 
back,  picked  up  the  small  youngster's 
bag,  then,  on  second  thought,  picked 
up  the  youngster  too  and  carried  the 
whole  load  up  the  hill. 

In  the  sequence  on  the  arrival  of 
mail,  one  of  the  boys  got  what  was  ob- 
viously a  cake.  The  ensuing  chase  all 
over  the  camp  ended  when  the  box  was 
opened  to  reveal  a  pair  of  rubbers.  In 
the  horseback  sequence,  the  boys 
stopped  for  a  rest  in  the  countryside, 
and  while  one  of  them  was  asleep,  an- 
other put  a  bouquet  of  daisies  on  his 
chest.  Small  things,  trifles — yet  they 
conveyed  the  unmistakable  impression 
— to  both  parents  and  children — that 
the  boys  were  good  friends  and  were 
having  fun. 

One  of  the  happiest  sequences  in  the 
film  concerned  four  young  campers  and 
their  counselor  who  set  out  for  a  casual 


MOVIE   MAKERS 


167 


stroll  through  the  countryside.  They 
picked  flowers,  they  climbed  trees,  they 
scrambled  over  rocks.  Nothing  to  it, 
really — but  it  gave  a  feeling  of  freedom 
and  happiness.  And  then  they  came  to 
a  shallow  pond,  where  one  of  them 
fell  in. 

The  attempts  of  the  other  three  boys 
to  rescue  him  resulted  in  their  ducking 
too.  So  in  the  end  the  four  of  them 
straggled  out  of  the  pond  looking  be- 
draggled and  foolish,  while  the  counse- 
lor just  grinned.  Prospective  campers 
loved  it ;  the  idea  that  they  could  live 
in  a  place  where  people  didn't  scold 
them  if  they  fell  in  the  water  with  their 
clothes  on  was  infinitely  appealing. 

Most  camp  films  emphasize  the  facil- 
ities and  the  activities,  but  fail  to  show 
the  real  quality  of  life  at  camp — which 
is  largely  found  in  such  apparent  in- 
consequentials  as  taking  a  shower  or 
going  to  bed.  Actually,  the  spirit  in 
which  the  youngsters  go  to  bed  at  night 
is  significant  both  to  parents  and  to 
children;  the  parents  appreciate  the 
assurance  that  nobody  is  lonely  or 
afraid;  and  the  youngster  relishes  the 
idea  of  going  to  bed  with  a  lot  of  other 
fellows. 

The  overall  outline  of  a  camp  film 
needn't  be  elaborate.  I  like  films  to 
start  with  the  general  and  work  down  to 
the  specific,  or,  to  put  it  more  exactly, 
from  the  familiar  to  the  unfamiliar. 
The  introductory  sequence  of  my  film 
was  just  boys — hoys  climbing  rocks, 
boys  swimming,  boys  riding,  boys  skip- 
ping stones,  wrestling,  shooting  bows 
and  arrows.  The  sequence  was  intended 
to  suggest  to  a  prospective  camper  that 
being  a  boy  was  rather  a  good  thing 
after  all. 

The  second  sequence  didn't  leave  the 
boys  behind,  but  it  subordinated  them 
to  the  idea  that  they  couldn't  really  be 
boys,  in  the  old  fashioned  sense  of  the 
word,  unless  they  were  out  in  the  open 
air.  The  boys  remained  in  the  pictures, 
but  the  scenery  of  Maine  was  the  central 
point.  And  from  there,  of  course,  it  was 
an  easy  transition  to  Camp  Ha-wa-ya, 
which  was  a  camp  for  boys  in  the  open 
air.  The  same  treatment  could  be  ap- 
plied. I'm  sure,  to  modern  young  girls; 
in  fact,  at  summer  camps  today  there  is 
scarcely  any  detectable  difference  be- 
tween them. 

But  the  important  thing  to  remember 
throughout  the  picture  is  the  spark  of 
friendship  and  fun.  Kids  hate  to  be  too 
serious.  If  you're  showing  a  sequence 
of  lifeguard  training,  let  one  of  the 
demonstrating  counselors  accidentally 
tickle  the  pretended  victim.  If  you  show 
a  boy  asleep  during  the  rest  period, 
leave  a  comic  book  open  on  his  stomach. 
Make  it  seem  like  fun.  By  all  means, 
show  the  benefits,  the  guidance,  the  care 
and  the  good  food.  Those  are  what  sell 
the  parents.  But  don't  forget  the  six 
power  telescope  and  the  false  mustache 
set.  Those  are  what  sell  the  child. 


An  Invitation  fo 

MOVIE  MAKERS  TO  COME  TO 

NOVA  SCOTIA 

"CANADA'S  OCEAN  PLAYGROUND'1 
Many  unusual  subjects  for  your  camera  .  .  . 
delightful  climate  (summer  average  63°) 
. . .  friendly  people . . .  everything  for  a  perfect 
filming  vacation  .  .  .  All  described  in  new 
64-page  full   color  booklet.   Want   a   copy? 

write: 

NOVA    SCOTIA    BUREAU    OF    INFORMATION 
PROVINCIAL   BUILDING,   HALIFAX,   NOVA   SCOTIA 


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R.  S.  V.  P. 

WITH     A    WINNER! 

The  Amateur  Cinema  League  invites 
you  once  again,  as  it  has  done  each 
year  since  1930,  to  submit  your  movie 
making  efforts  in  the  oldest,  most  hon- 
ored contest  in  the  world  of  personal 
filming — the  ACL  selections  of  the  Ten 
Best  Amateur  Films  of  the  Year  and 
the  Hiram  Percy  Maxim  Award.  The 
contest  is  open  to  amateurs  everywhere 
in  the  world,  using  8mm.  or  16mm. 
film,  black  and  white  or  color,  silent 
or  sound,  in  short  or  long  reels  and  on 
any   subject. 

HOW   SELECTIONS    ARE    MADE 

The  Ten  Best  selections  are  made 
by  the  trained  staff  of  the  Amateur 
Cinema  League,  men  who  see  and  eval- 
uate more  than  a  quarter  million  feet 
of  film  each  year.  The  selections  are 
not  limited  to  League  members — any 
amateur  filmer,  anywhere  in  the  world, 
may  compete.  The  judges  seek  only 
quality — quality  of  camera  work,  film 
planning,  editing,  titling  and,  above  all, 
creative  movie  imagination.  Any  fine  film 
can  win.  This  year,  it  may  be  your  film ! 

BEGIN  PLANNING  NOW 

An  entry  blank  and  the  rules  govern- 
ing the  ACL  Ten  Best  contest  will  be 
published  in  MOVIE  MAKERS  in  an 
early  issue.  But  it  is  none  too  soon  to 
begin  planning  now.  Plan  to  answer 
the  ACL's  Ten  Best  invitation 

WITH    A    WINNER! 


Movies  for  TV,  by  John  H.  Battison, 
ACL.  376  pp.,  cloth,  $4.25;  The  Mac- 
millan  Company,  60  Fifth  Avenue,  New 
York  11,  N.   Y. 

Movies  for  TV  is  a  practical  hand- 
book which  explains  very  clearly  the 
do's  and  don'ts  of  making  good  motion 
pictures  for  use  in  television.  It  de- 
scribes fully  the  features  and  opera- 
tion of  suitable  movie  cameras,  the 
types  of  film  rawstock.  projectors,  lenses 
and  other  associated  equipment  neces- 
sary to  this  craft. 

The  technique  of  lighting  (the  first 
requisite  of  a  good  picture)  ;  how  to 
make  effective  still  and  moving  titles; 
how  to  make  dissolves,  fades  and  other 
special  effects  so  necessary  to  add  the 
finished  touch  to  your  films — all  these 
are  covered  in  an  understandable  and 
comprehensive  fashion.  Much  space  has 
been  allocated  to  the  discussion  of  TV's 
present-day  problems  of  program  plan- 
ning and  production. 

Also  examined  by  the  author  are  the 
effective  utilization  of  film  with  live 
programming  to  help  create  in  the 
viewer's  mind  a  feeling  of  presence. 
Examples  are  cited  of  successful  and 
unsuccessful  commercial  announcements 
and  the  comparative  costs  are  given  of 
film  versus  live  presentations.  An  in- 
formative chapter  on  the  subject  of  off- 
the-tube  recording  (kinescoping)  ex- 
plains bow  the  networks  have  attempted 
to  solve  this  necessary  but  expensive 
phase  of  network  telecasting. 

This  book  is  a  fascinating  resume  of 
the  many  varied  facets  of  a  great  in- 
dustry as  it  may  relate  to  an  even  great- 
er avocation  and  absorbing  hobby. 
Movies  for  TV  is  a  must  for  every  ama- 
teur who  is  interested  in  improving  his 
or  her  technique. — Lawrence  A.  Rud- 
olell,  ACL. 


Lawrence  A.  Ruddell,  ACL,  is  direc- 
tor of  recording  for  the  American  Broad- 
casting Company  and  for  WABD,  Amer- 
ican s  TV  division.  He  is  a  charter  mem- 
ber of  the  Audio  Engineering  Society 
and  a  member  of  the  Society  of  Motion 
Picture  and  Television  Engineers. 

Photographic  Optics,  by  Allen  R. 
Greenleaf.  214  pp.,  cloth,  $4.75;  The 
Macmillan  Company,  60  Fifth  Avenue, 
New  York  11,  N.  Y. 

Books  on  a  highly  theoretical  subject 
like  optics,  but  written  in  a  manner 
that  any  amateur  or  professional  pho- 
tographer can  understand,  are  difficult 
to  find.  Photographic  Optics,  which  ex- 
plains what  photographic  lenses  are  and 
how  they  work,  has  been  developed  in 
just  the  right  direction. 

In  spite  of  the  simplicity,  we  find  in 
this  book  (printed  in  a  logical  manner) 
all  the  optical  formulas  that  are  useful 
to  the  photographer,  and  even  the  ones 


MAY    1951 

upon  which  lens  design  is  based.  A  few 
practical  examples,  showing  how  the 
various  formulas  can  be  helpful  in  pho- 
tographic work,  could  have  been  added 
for  those  who  are  less  familiar  with  the 
functioning   of   mathematical   formulas. 

The  book  also  lists  all  the  photo- 
graphic and  cinematographic  lenses  ac- 
cording to  their  combination  of  lens 
elements.  For  this  purpose,  the  newest 
and  most  complete  classification  of  pho- 
tographic lens  types  by  R.  Kingslake 
has  been  used.  Many  of  the  well  known 
objectives  are  not  only  shown  in  cross- 
section  diagrams,  but  their  technical 
data — such  as  radii,  thicknesses,  diam- 
eters of  the  elements — are  given.  Be- 
sides a  description  of  shutters  and  the 
various  optical  accessories  for  cameras, 
the  book  contains  an  excellent  chapter 
on  testing  lenses,  outlining  operations 
which  any  amateur  can  conduct  without 
purchasing  expensive  equipment. 

Although  Photographic  Optics  deals 
with  a  broadly  theoretical  subject,  you 
should  find  in  this  book  a  practical  an- 
swer to  any  optical  problem  that  may 
arise  in  your  photographic  work. — Ernst 
Wildi,  ACL. 


Ernst  Wildi,  ACL,  is  manager  of  the 
Technical  Department  of  Paillard  Prod- 
ucts, Inc.,  in  the  United  States.  He  was 
the  author  of  "Will  They  Fit  My  Cam- 
era?" a  survey  of  Kern-Paillard  lenses 
in  February  Movie  Makers. 

The  PSA  Annual— 1951.  edited  by 
Fred  Quellmalz.  jr..  APSA.  132  pp., 
paper,  $1.00;  Photographic  Society  of 
America,  Kutztown,  Pa. 

The  second  in  PSA's  photographic 
Annuals,  this  handsomely  prepared  vol- 
ume presents  (among  other  interesting 
articles)  the  following  discussions: 
Color  Photography  of  Flowers,  by  John 
R.  Whiting,  APSA;  Symbols  and  the 
Nude,  by  P.  H.  Oelman,  FPSA;  George 
Eastman  and  His  Place  in  Photography, 
by  Dr.  C.  E.  Kenneth  Mees,  Hon.  FPSA; 
The  Work  and  Ideas  of  Ansel  Adams, 
by  Jack  Wright,  FPSA,  and  Rolling 
Down  the  Green,  by  Vincent  H.  Hunter, 
FACL.  APSA. 

The  last-named  article,  a  report  on 
running  the  Green  River  through  Wyo- 
ming and  Utah,  is  the  only  amateur 
movie  story  in  this  attractive  but  pre- 
dominantly still-photo  publication.  — 
/.  W.  M. 


In  Panorama     You   have    a   ha}l- 

pint  who  is  "gradu- 
ating" from  kindergarten  this  year? 
Then  the  Spring  issue  of  Panorama, 
Bell  &  Howell's  quarterly  magazine  for 
home  movie  makers,  will  be  just  your 
meat.  Featured  in  it  are  five  pages  of 
pictures  and  story  on  how  to  film  a 
small-fry  graduation  party.  You  can 
pick  up  your  copy  of  Panorama  at  your 
favorite  Bell  &  Howell  dealers. 


MOVIE    MAKERS 


169 


Great  Britain  beckons 

[Continued  from  page  161] 

see  note  below),  it  is  obvious  you 
did  not  come  to  England  solely  to  see 
it.  I  expect,  therefore,  that  most  visitors 
will  buy  some  kind  of  map  of  London 
when  they  arrive  here.  Other  than  from 
a  photographic  viewpoint,  it  is  not  my 
province  to  suggest  what  you  wish  to 
see.  But  if  you  cannot  find  it  in  your 
map,  I  should  like  to  suggest  that  you 
always  ask  a  passerby  for  guidance. 

Contrary  to  generally  held  beliefs, 
the  average  Londoner  is  rather  a  shy 
sort  of  person  and  does  not  wish  to 
seem  to  be  "interfering"  with  anyone 
else.  In  consequence,  you  may  miss 
something,  or  even  be  denied  that  bit 
of  help  you  may  need,  since  we  are 
rather  inclined  "not  to  push  our  noses 
into  something  that  doesn't  concern  us 
directly."  Most  people  will  be  glad  to 
help  you  if  they  are  asked.  But  don't 
be  too  surprised  if  you  find  that  you 
know  more  about  London  than  we  do. 
Some  of  us  are  a  bit  apt  to  take  our 
Town   for  granted. 

SPECIAL   PHOTO    EXHIBITS 

Photographically,  I  should  like  to 
suggest  that  you  try  to  spare  an  hour 
or  so  to  visit  the  House  of  the  Royal 
Photographic  Society  at  16  Princes 
Gate,  South  Kensington,  London.  S.W. 
7.  Here  during  the  summer  months  you 
will  find  a  specially-staged  exhibition 
of  the  history  of  photography.  This  is 
the  Society's  contribution  to  the  Festi- 
val of  Britain,  and  I  hope  that  you  will 
find  it  both  stimulating  and  interesting. 
I  am  also  sure  that  if  you  give  a  little 
notice  to  our  Secretary,  L.  E.  Hallett, 
Esq.,  by  a  telephone  call  beforehand, 
he  may  be  able  to  help  you  with  any 
photographic  problem  with  which  you 
may  be  in  difficulty.  A  particular  wel- 
come will  be  extended  to  all  members 
of  the  Amateur  Cinema  League  and 
readers  of  Movie  Makers. 

(Throughout  England,  Scotland, 
Wales  and  Northern  Ireland,  during  the 
five  months  of  the  Festival,  there  will 
be  countless  other  exhibitions  of  in- 
terest to  the  touring  movie  maker. 
Those  of  our  readers  planning  to  visit 
the  United  Kingdom  this  summer  may 
receive  detailed  information  on  the  en- 
tire Festival  program  from  any  of  the 
following  agencies: 

Festival  of  Britain  Information  Cen- 
tre, Swan  and  Edgar  Building,  Picca- 
dilly Circus,  London,  W.  1,  England; 
The  British  Travel  Centre,  336  Madi- 
son Avenue,  New  York  17,  N.  Y.,  or 
The  British  Travel  Centre,  6  Place 
Vendome,  Paris,  le,  France — The  Edi- 
tors.) 


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the  telescopic  lens  slides  into  place! 
8  to  64  frames  per  second.  Special  ef- 
fects galore  —  with  provision  for  ex- 
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sequence  and  a  film  returning  crank 
for  fade-ins,  fade-outs,  lap  dissolves 
and  other  professional  effects.  The 
spring  motor  has  an  unusually  long 
run— a  full  11  feet— automatically  cuts 
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170 


Grand  Rapids  awards     A   newspaper   cartoon, 

They'll  Do  It  Every  Time, 
describing  the  woes  of  the  hobby  widow,  was  chosen 
for  the  theme  of  the  1950-51  annual  contest  sponsored  by 
the  Grand  Rapids  Amateur  Movie  Club.  For  the  purpose 
of  the  contest,  the  club  divided  itself  into  several  groups, 
each  group  producing  a  unit  film.  Beginning  the  End  cap- 
tured both  first  place  in  the  8mm.  class  and  the  Grand 
Award.  Bess  Warmels  was  chairman  of  the  winning  unit, 
which  included  the  following  husband-and-wife  club  mem- 
bers: Carl  Kuenzel,  Earl  Hunsinger,  ACL,  C.  L.  Mc- 
Danold,  R.  F.  Painter,  G.  Ashby,  W.  C.  Robinson,  J. 
Van  de  Kopple  and  George  Bates  (single),  ACL. 

We  regret  space  limitations  prevent  our  giving  the  full 
personnel  of  all  the  units,  but  the  other  prize  8mm. 
winners  in  order  were  Magic  Anniversary,  Ray  Slominski, 
chairman,  and  Hobby  Widow,  Mr.  and  Mrs.  Lloyd  Nes- 
bitt,  co-chairmen.  The  16mm.  class  winners  were  Hubby's 
Hobbies,  Howard  Yost,  ACL,  and  Mrs.  Yost,  co-chairmen, 
and  Loco  Motion,  Mr.  and  Mrs.  John  Olthoff,  co-chairmen. 
The  ACL  judged  the  contest. 

Los  Angeles  The  April  meeting  on  the  crowded 
agenda  of  the  Los  Angeles  Cinema  Club 
featured  a  showing  of  Walt  Disney's  In  Beaver  Valley. 
On  the  same  program  were  Vacation,  1950,  by  Jack 
Helstowski;  Autumn  Afternoon,  by  Charles  Ross,  ACL; 
Joint  Account,  by  Leo  Caloia,  and  Color  Slides  of  Italy, 
by  Dr.  A.  H.  Weitkamp.  Messrs.  Helstowski  and  Ross 
received  the  club's  April  Quality  Awards. 

North  Detroit  Clyde  Beattie,  ACL,  captured  first  prize 
in  the  annual  contest  sponsored  by  the 
North  Detroit  Cine  Club,  ACL,  with  his  film,  Summer 
Lingers.  Runners-up  in  second  and  third  positions  were 
A.  F.  Werth,  with  Father  Gets  Dinner,  and  Al  Broadway, 
with  Canada  Wonderland.  The  Die  is  Made,  by  Carle  E. 
Shultz,  and  The  Land  of  Hiawatha,  by  A.  Miedema,  ACL. 
both  received  honorable  mention  awards.  The  ACL 
judged  the  contest. 

Metro  program  Metro  News,  bulletin  for  the  Metro 
Movie  Club,  ACL,  of  River  Park  in 
Chicago,  reports  that  an  old  fashioned  square  dance  was 
held  earlier  this  year  by  the  club  for  members  and  movie 
making  friends.   Those  exhausted  by  the  pace  dropped 


The  people,  plans  and  programs  of 

amateur  movie  groups  everywhere 


THE  HAWAII  CINEMA  LEAGUE,  ACL,  with  100%  membership  in  .he 
ACL,  lines  up  the  following:  W.  C.  Young,  ACL;  G.  A.  King,  ACL; 
L.  T.  Nakamura,  ACL;  L.  A.  Julian,  ACL;  R  Young,  ACL;  T.  Lum,  ACL; 
Master  Sergeant  Voy  Britt,  ACL,  and  L.   Iwamoto,  ACL. 

back  to  the  sidelines  to  record  the  goings-on  with  their 
cameras.  A  good  time  is  reported  had  by  all. 

On  the  movie  side  of  Metro's  calendar,  members  were 
treated  to  the  following  screenings  during  the  month: 
California  Southland,  by  Ted  Shaw;  Eastern  Canada,  by 
Ray  Mostek;  Railroad  Fair  and  Wanderlust,  by  Al 
Pickell,  and  Canadian  Fishing  and  Highways  to  the  West, 
by  Dr.  Fred  Biedka,  ACL. 

Albany  novelty  Something  new  in  the  way  of  club 
programs  was  initiated  this  year 
by  the  Amateur  Motion  Picture  Society  of  Albany,  ACL, 
when  a  "sneak  preview"  of  Clan  Capers,  new  film  by 
Esther  Cooke,  ACL,  was  offered  for  inspection  and  com- 
ment. A  questionnaire  was  handed  each  member  on  which 
to  note  his  reactions  to  the  film. 

The  club's  Ladies'  Night,  under  the  chairmanship  of 
Loretta  Creamer  and  Frieda  Tierney,  featured  the  fol- 
lowing pictures;  Guatemala,  by  Alice  L.  Burnett,  ACL, 
secretary  of  the  Metropolitan  Motion  Picture  Club,  ACL, 
of  New  York  City;  Vacation  at  Marian  Lodge,  by  club 
member  Helen  C.  Welsh,  ACL,  and  Beneath  Mexican 
Skies,  Movie  Makers  1950  Honorable  Mention  winner, 
by  Ella  Paul,  also  a  member  of  MMPC. 

Last  month's  meetings  included  Men's  Night  (that's 
a  switch ) ,  at  which,  unaccountably,  Madeline  Lemperle, 
ACL,  showed  her  Holy  Year  Pilgrimage,  and,  at  a  sub- 
sequent meeting,  a  lighting  demonstration,  under  the 
direction  of  William  J.  Speckerman,  of  General  Electric 
Company.  Ray  Bellanger  and  Chuck  Senecal  were  co- 
chairmen  of  the  Men's  Night. 


OMAHA  MOVIE  CLUB,  ACL,  prize  winners  are  (I.  to  r.)  Frank  Grosbeck, 
Gladys  Rohrs,  Reverend  Earle  Conover,  Myron  Jacoby,  ACL,  Lyle 
McBride,    ACL,    John    L.    Koutsky,    ACL,    and    Valfrid    B.    Walters,    ACL. 


Philadelphia  The  southeastern  district  prepared  the 
following  program  of  films  for  the 
Philadelphia  Cine  Club  at  a  recent  session:  Children's 
D.P.  Camp  in  Germany,  by  Byron  T.  Roberts;  Excerpts 
from  a  Trip  to  Mexico,  by  G.  A.  Del  Valle;  Sport  Fishing 
off  Jersey  Coast,  by  Stanley  Pine,  and  Banff  and  Lake 
Louise,  by  Dorothy  F.  Horton.  William  Brink  was  pro- 
gram chairman. 


MOVIE    MAKERS 


171 


New  in  Spain  Under  the  direction 
of  German  L.  Vaz- 
quez, ACL,  a  new  organization  of  ama- 
teur movie  makers  has  been  formed  in 
Madrid.  The  group  is  particularly  in- 
terested in  producing  documentary 
studies  of  the  great  towns  and  humble 
villages  in  Spain.  In  addition,  members 
will  devote  themselves  to  all  the  other 
activities  common  to  such  groups 
around  the  world.  The  club's  head- 
quarters is  at  68  Jose  Antonio,  for  the 
information  of  persons  traveling  in 
Spain. 

French  qroup  Movie  makers  travel- 
ing in  France  will 
find  a  friendly  helping  hand  in  the 
Club  des  Amateurs  Cineastes  de  France, 
whose  headquarters  at  9  bis,  Avenue 
de  Montespan,  Paris  16,  is  open  daily 
from  2:00  to  6:00  p.m..  except  Sun- 
days and  holidays,  and  Saturdays  until 
5:30. 

Winnipeq  A  demonstration.  A  Light- 
ing Formula,  has  been  pre- 
sented by  the  Winnipeg  Cine  Club,  of 
Canada.  This  was  based  on  the  article 
in  the  December,  1950  Movie  Makers. 
by  Leo  J.  Heffernan,  FACL.  Different 
makes  of  exposure  meters  were  used 
for  demonstration  and  experimental 
purposes.  The  results  of  the  evening's 
shooting  were  screened  at  the  March 
meeting.  Also  on  the  program  was  Cana- 
dian Autumn,  by  Ivan  Lambert. 

Ottawa  Quentin  Brown,  script  writ- 
er for  Crawley  Films,  Ltd., 
was  guest  speaker  recently  before  a 
meeting  of  the  Ottawa  Cine  Club,  in 
Canada.  His  talk  embraced  the  prob- 
lems common  to  both  the  amateur  and 
the  professional.  Films  selected  to  il- 
lustrate the  lecture  were  screened. 

New  York  City  The  New  York 

Cine  &  Camera 
Club  of  the  Deaf,  ACL.  in  a  recent 
meeting,  selected  the  following  officers 
for  the  current  year:  Louis  M.  Bayar- 
sky,  ACL,  president;  Bernard  Gross, 
vicepresident;  George  Doone,  secretary, 
and  Julius  Berest,  treasurer.  The  board 
of  directors  includes  Harry  Moskovitz, 
David  W.  Balacaier  and  Peter  Truglio. 
The  club  is  anxious  to  have  lectures 
and  demonstrations  by  experienced  film- 
ers  on  all  phases  of  cinematography.  A 
friend  of  the  club  will  act  as  interpre- 
ter for  persons  unfamiliar  with  the  sign 
language.  Anyone  interested  in  giving 
such  a  presentation  is  invited  to  write 
the  secretary,  Mr.  Doone.  1540  Char- 
lotte Street,  Bronx  60,  New  York  City. 

Vailsburg  agenda  A  club  pro- 
duction on  the 
art  of  ceramics  is  currently  engaging 
the  interests  of  the  Vailsburg  Cine  Club, 
ACL,  in  Newark,  N.  J.  In  preparation 
is  a  mystery  film  in  which  a  local  little 


theatre  group  is  to  provide  the  acting 
talent,  leaving  club  members  free  to 
concentrate  on  the  production  prob- 
lems. 

At  a  recent  meeting  of  the  club, 
James  Linford,  of  the  Dejur  Amsco 
Corporation,  gave  a  lecture  demonstra- 
tion of  the  correct  use  of  the  company's 
exposure  meter.  Slides  and  a  film  com- 
plemented the  lecture. 

The  first  issue  of  the  new  monthly 
club  bulletin,  Cinelites,  invites  persons 
interested  in  attending  club  meetings 
to  write  Joseph  Klopak,  secretary,  53 
Headley  Place,  Maplewood,  N.  J.  Meet- 
ings are  held  every  Tuesday  evening  at 
the  Ivy  Street  Community  Center,  in 
Newark. 

Richmond  Among  the  items  of  inter- 
est gleaned  from  the  bul- 
letin of  the  Richmond  (Calif.)  Movie 
Camera  Club  is  a  notice  of  the  screen- 
ing of  Pattern  for  Survival,  the  Cornell 
Film  Company  release  portraying  the 
effects  of  atomic  warfare  and  methods 
of  civilian  defense.  The  club's  uncut 
film  contest  was  won  by  Madeline  Whit- 
tlesey with  an  animated  Christmas  film. 

San  Jose  winners  A  tie  for  first 

place  in  the  an- 
nual contest  of  the  San  Jose  (Calif.) 
Movie  Club  gave  top  honors  to  Escape, 
by  Dr.  Charles  J.  McDonald,  and  Mans 
Castle,  by  Ed  Kentera.  Second  prize 
went  to  Fearn  L.  Hobbs,  ACL,  for  Vil- 
lage Small,  and  third  prize  to  Russell 
O'Brien.  ACL.  for  The  Weaker  Sex. 

The  awards  were  presented  at  the 
group's  annual  banquet,  at  which  the 
following  new  officers  for  the  current 
year  were  installed :  Fred  W.  Buech- 
ner,  president ;  Alvin  Long,  ACL,  vice- 
president;  Mrs.  Harold  Rhoten,  secre- 
tary; Mr.  O'Brien,  treasurer,  and  Dr. 
Leighton  P.  Brownton.  librarian. 

Hartford  J°hn  S-  Dunning,  presi- 
dent of  the  Hartford  Bird 
Study  Club,  presented  his  film,  Feath- 
ered Beauties,  at  a  recent  meeting  of 
the  Hartford  (Conn.)  Cinema  Club. 
The  screening  was  held  at  the  Hartford 
Golf  Club. 

West  Hartford  Members  of  the 
Westwood  Cine 
Club,  ACL.  of  West  Hartford,  Conn., 
have  chosen  the  following  officers  for 
the  current  year:  H.  Hopkinson,  presi- 
dent; N.  Griswold,  vicepresident;  Pat 
Maher.  program  chairman,  and  Walter 
Kelly,  secretary  and  treasurer. 

Club  tour  Most  of  the  members  of 
the  Movie  Division,  Pen- 
sacola  (Fla.)  Camera  Club,  ACL,  plan 
to  leave  their  home  base  on  the  23rd  of 
June  for  an  extensive  western  movie 
tour.  Armed  with  cameras  and  plenty 
of  film,  the  movie  odyssey  will  move 
west    via    the    southern    route,    through 


U.  S.  Pat.  No.  2260368 


GOERZ  AMERICAN 

APOGOR 

F:2.3 

the  movie  lens  with  microscopic 
definition  successful  cameramen 
have   been   waiting  for— 


A  new  six  element  high  quality  lens  for  the  16  and 
35  mm  film  camera.  Corrected  for  all  aberration  at 
full  opening,  giving  highest  definition  in  bluck-«&- 
white  and  color.  Made  by  skilled  technicians  with 
many    years   of   optical   training. 


Fitted  to  precision  focusing  mount  which  moves 
the  lens  smoothly  without  rotating  elements  or 
shifting    image. 


This    lens    comes   in    C    mount   for    16    mm    cameras. 
Fitting   to   other  cameras   upon   special   order. 


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and    75   mm   coated. 


Write    for   prices,    giving    your    dealer's    name. 


2=£*  GOERZ  AMERICAN 

OPTICAL    COMPANY 
OFFICE  AND   FACTORY 

317    EAST   34   ST.,   NEW    YORK    16,   N.    Y. 

MM- 5 


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MAJOR  COLOR  FEATURES 
16MM.  SOUND  FOR  RENT 


IIIIIIE 

\  I  deal    for    Hotel.    Camp.    Church, 

School,     Club.     &     Home    Shows. 
Send  for  your  free  catalog  to-day: 
NATIONAL    CINEMA    SERVICE 

\       71  Dey  St.  .  WO  2-6049  .  N.  Y.  7,  N.  Y. 


Safeguard    your 

Film.  Ship  in 

FIBERBILT 

CASES. 

400'  to  2000'  16mm. 

FIBERBILT 
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40    WEST    17th    ST. 
NEW     YORK     CITY 


172 


assified    advertising 


■  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


■  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT  FOR  SALE 


|  BASS  .  .  .  Chicago,  offers  a  practically  new  16mm. 
Bell  &  Howell  Specialist  complete  with  1"  Lumax 
f/1.9  coated  in  foe.  mt.,  17mm.  Ansix  f/2.7  coated 
in  foe.  mt.,  2"  f/3.5  Telate  coated  in  foe.  mt..  incl. 
2  synchr.  motors,  matte  box,  400  ft.  mag.,  heavy 
duty  tripod.  List  $2,995.00.  Bass  price  .  .  .  $2,100.00. 
Write  or  wire  deposit  for  this  grand  bargain.  BASS 
CAMERA  COMPANY,  Dept.  CC,  179  W.  Madison 
St..   Chicago  2,   111. 

|  SYNCHRONOUS  motors  installed  on  16mm.  pro- 
jectors, $145.00.  Synchronous  equipment  rented  and 
sold.  M.  W.  PALMER,  468  Riverside  Drive,  New 
York  27. 

H  OVER  100  Animated  Titles!  8mm.,  only  49£ ; 
16mm..  only  69?.  Catalog  Free!!  SOLOMON  KESS- 
LER,    ACL,    87   Lancaster   St.,    Portland   3.   Maine. 

|  MORTON  Soundmaster  single  system  camera  and 
sound  equipment  complete,  new  $600.  BOLEX 
H-16.  1"  f/1.9  lens,  $175.00.  FILMO,  Model  A,  1" 
f/1.9  lens,  $70.00.  CRAIG  EDITOR,  viewer,  splicer, 
rewinds  complete,  special  price,  $55.00.  KODASCOPE 
FS-10N  sound  projector,  like  new,  $175.00.  B&H 
DIPLOMAT  projector  and  case,  excellent,  $145.00. 
WE  BUY,  SELL,  TRADE  NEW  AND  USED  EQUIP- 
MENT. SEND  YOUR  LISTING  FOR  OUR  LIBERAL 
CASH  OFFER  OR  TRADE-IN  ALLOWANCE.  THE 
CAMERA  MART,  Inc.,  70  West  45th  Street,  New 
York,  N.  Y. 


■   LIKE     new     Bell    &    Howell     16mm. 
master    Magazine     Camera,    4    lenses, 

Turret  Auto- 
viewers,     thru- 

lens    focuser  and    case.    Bargain    price 
JAMES    CORNELIO,    2900   Albion    St., 

for  quick  sale. 
Denver,    Colo. 

H  WORLD'S  largest  selection  of  fine  movie  lenses. 
All  fully  guaranteed  and  available  on  15  day  free  trial. 
These  are  only  samples  in  our  tremendous  storks. 
We  have  any  lens  you  need  for  every  movie  making 
purpose.  In  focusing  mounts  for  8mm.  cameras:  x/&" 
f/1.9  Wollensak  Raptar  (coated)  $45.70;  1%"  f/3.5 
Cine  Telephoto  (3x  magnification)  $34.50:  1%"  f/2.7 
Hugo  Meyer  (coated)  S54.00.  In  focusing  mounts 
coated  for  16mm.  cameras:  17mm.  f/2.7  Carl  Meyer 
wide  angle,  $44.50;  2"  //3.5  Kodak  Ektar,  $49.50; 
3"  //1.9  Dallmeyer.  $179.50;  3"  //2.9  Hans  Mayer, 
$54.00;  6"  //5.5  Schneider  Tele-Xenar,  $124.50.  Write 
today  for  complete  lens  list  and  catalog.  BURKE  & 
JAMES,  Inc..  321  So.  Wabash  Ave.,  Chicago,  111. 
Att :  M.   M.   James. 

FILMS  WANTED 

■  CASH  PAID  FOR  MOVIE  FILMS  OF  ALL 
TYPES  REGARDLESS  OF  AGE  OR  CONDITION. 
JOHNNY  ALLEN,  19  Demarest  Place,  Maywood, 
New   Jersey. 

FILMS  FOR  RENTAL  OR  SALE 

|  CASTLE  films  for  sale:  8mm. -16mm.  silent  and 
sound;  complete  stock,  orders  shipped  dav  received 
by  STANLEY-WINTHROP'S,  Inc.,  90  Washington  St., 
Quincy  69,   Mass. 

■  NATURAL  COLOR  SLIDES,  Scenics,  National 
Parks,  Cities,  Animals,  Flowers,  etc.  Sets  of  eight, 
SI. 95:  sample  &  list,  25<t.  SLIDES,  Box  206,  La 
Habra,    Calif. 

|  USED  and  new  Castle  films:  8-16,  silent  and 
sound.  Send  for  lists.  ALVES  PHOTO  SERVICE, 
Inc.,   14  Storrs   Ave.,   Braintree   84,   Mass. 

H  FREE  Movies:  Thousands  of  subjects.  Interesting. 
Entertaining.  Fascinating.  Latest  Directory — only  50c\ 
NATIONAL  CINE  SOCIETY,  126  Lexington  Ave., 
Dept.   102   C,  New  York  16,  N.  Y. 

■  16MM.  SOUND  films,  bought,  sold,  exchanged. 
Send  for  giant  list  "A"  today.  Also  state  what  you 
have  for  sale  or  exchange.  Write  INSTITUTIONAL 
CINEMA  SERVICE,  1560-M2  Broadway,  New  York 
19,  N.  Y. 

■  OLD  TIME  FILM  COLLECTORS— HUGE  LIST 
RARE  FILMS,  POSTERS,  STILLS,  ETC.,  2Sc\ 
TRADES  WELCOMED.  FRIENDLY  SERVICE.  BOX 
78.  RADIO  CITY  POST  OFFICE,  NEW  YORK  19, 
N.  Y. 


MISCELLANEOUS 


■  KODACHROME  DUPLICATES:  8mm.,  or  16mm., 
11^"  per  foot.  Immediate  service  on  mail  orders. 
HOLLYWOOD  16  MM  INDUSTRIES,  Inc.,  6060  Hol- 
lywood  Blvd.,    Hollywood   28,    Calif. 

|  NO  NEGATIVE  ?  ?  ?  Send  picture  or  transparency 
and  $1.00  for  new  negative  and  2  5x7  enlargements. 
CURIO-PHOTO,    1187   Jerome   Ave.,    New   York   52. 

■  SOUND  RECORDING  at  a  reasonable  cost.  High 
fidelity  16  or  35.  Quality  guaranteed.  Complete  studio 
and  laboratory  services.  Color  printing  and  lacquer 
coating.  ESCAR  MOTION  PICTURE  SERVICE,  Inc., 
7315  Carnegie  Ave.,  Cleveland  3,  Ohio.  Phone:  Endi- 
cott   1-2707. 

■  TWO  4  x  5  BL.  &  W.  ENLARGEMENTS  and  nega- 
tive from  your  moviefilm,  or  two  colorprints  from 
colorfilm.  Send  frames  and  one  dollar.  CURIO- 
PHOTO,   1187  Jerome  Ave.,  New  York  52. 


THE  ACL  LEADER 

signature  of  a  GOOD  FILM 

To   all  ACL  Members: 

If  you  haven't  ordered  your  ACL 
Leaders  yet,  you're  missing  all  the 
glow  and  sparkle  that  the  beautiful 
color  footage  will  add  to  your  fin- 
ished films. 

Against  a  dark  background,  the 
earth  —  with  the  continents  vari- 
colored against  the  rich  blue  seas  — 
revolves  slowly  until  the  sparkling, 
crystal  letters  ACL  fade  in  across  the 
sphere's   curvature. 

Then  a  narrow  band  of  brilliant 
red,  bearing  in  white,  raised  letters 
the  word  MEMBER,  swings  across 
the  globe.  A  second  band  of  red, 
with  AMATEUR  CINEMA  in  white, 
zooms  in  from  the  right  and  is  fol- 
lowed by  a  third  red  band,  with  the 
word  LEAGUE. 

A  smooth  lap  dissolve  follows,  and 
across  the  same  three  red  panels  ap- 
pear the  words  WORLD  WIDE  AS- 
SOCIATION OF  MOVIE  MAKERS, 
in  gleaming  white  letters.  These, 
together  with  the  sphere,  then  slowly 
fade  out. 

There's  still  more:  the  trailer.  As 
your  film  ends,  you  fade  in  once  more 
on  the  slowly  spinning  earth  —  and 
a  brilliant  red  band  sweeps  diag- 
onally across  it,  announcing  in  large 
white  letters  THE  END. 


f      Narae_ 


AMATEUR   CINEMA    LEAGUE,    Inc.  5-51 

420  Lexington   Avenue 
New   York    17,    N.   Y. 

Yes,  as  a  member  of  ACL,  I  certainly  want  several 
of  the  beautiful  new  Kodachrome  leaders.  I  enclose 
my  check  or  money  order  for: 

16mm.  Kodachrome  leaders  at  $1.50  each 

8mm.  Kodachrome  leaders  at  $1.00  each 


Street. 
City 


MAY    1951 

Baton  Rouge,  La.,  the  middle  of  Texas, 
Sante  Fe,  N.  M.,  to  the  Arches  National 
Monument  and  Salt  Lake  City.  From 
here  the  caravan  continues  on  to  Crater 
Lake,  Ore.,  Mt.  Hood  and  Seattle, 
Wash.,  and  Vancouver,  British  Colum- 
bia. 

The  return  trip  will  take  the  group  to 
Lake  Louise  and  then  south  through 
Glacier  National  Park,  Great  Falls, 
Yellowstone  National  Park,  Cheyenne, 
Rocky  Mountain  National  Park,  Boise, 
Idaho,  Oklahoma  City,  Texarkana, 
Jackson,  Miss.,  and  back  to  Pensacola. 
The  group  would  like  to  hear  from  club 
groups  in  these  areas  and  get  together 
with  them  on  shooting  problems  and 
possibilities  in  the  specific  locations. 
Write  Dr.  Clyde  E.  Miller,  816  North 
Palafox  Street,  Pensacola,  Fla. 

Can  the  amateur 
tie  into  television? 

[Continued  from  page  152] 

If  you  live  in  a  small  town  and  there 
is  a  good  sports  team  of  some  kind,  you 
may  be  able  to  film  that  for  the  local 
station.  You  might  even  be  able  to  get 
an  assignment  as  "string  man"  for  one 
of  the  national  newsreel  services,  such 
as  INS  Telenews.  But  you  would  need 
to  be  quite  good  to  qualify,  and  have 
to  prove  it  by  submitting  film.  These 
string  men  are  usually  paid  only  for 
film  which  is  used  by  the  newsreel,  but 
here  again  conditions  vary.  Canvassing 
the  107  television  stations  of  the  United 
States  is  not  a  hard  job  by  mail.  And 
your  offer  to  shoot  footage  for  film  in- 
serts, or  other  scenic  uses,  may  provide 
an  opening  if  you  live  in  a  place  which 
happens  to  be  important  to  a  production 
the  station  is  doing. 

Documentary  films  are  always  wel- 
come for  television — if  they  are  good. 
Of  course,  in  this  case,  it  is  better  to 
have  sound,  but  often  a  well  written 
narration  accompanying  the  film  in 
script  form  will  be  used.  As  a  rule,  a 
documentary  production  should  careful- 
ly avoid  certain  taboos,  such  as  sex, 
religion,  race  prejudice,  etc.,  and  a  really 
interesting  approach  should  be  worked 
out.  Finally,  if  the  movie  maker  is  am- 
bitious and  proficient,  he  may  be  able 
to  produce  a  series  of  documentaries 
which  a  national  distributor  of  television 
film  would  handle  on  a  commission 
basis.  These,  of  course,  should  be  prop- 
erly  produced  and  have   sound  tracks. 

For  the  latter  type  of  work  the  Auri- 
con  Cine  Voice  camera  is  very  suitable, 
since  it  produces  a  sound  track  on  the 
film  when  used  as  a  single  system  sound 
camera  (sound  and  picture  photo- 
graphed on  one  film  simultaneously). 
It  also  can  be  used  as  a  recorder  for 
adding  narration  after  a  documentary  is 
made. 

In  this  case,  the  film  is  shot  silent  at 


MOVIE    MAKERS 


173 


24  fps,  edited  on  a  work  print  (not  the 
original  I  to  prevent  its  being  damaged, 
and  titled.  A  roll  of  sound  film  is  now 
loaded  into  the  Cine  Voice,  but  not 
threaded  through  the  picture  gate. 
Then,  with  the  picture  running  on  the 
projector,  music  from  a  double  turn- 
table and  narrative  from  a  microphone 
are  recorded  as  desired  on  the  sound 
film. 

A  most  important  point  to  watch  here 
is  the  choice  of  music.  Ordinary  phono- 
graph discs  will  not  do!  They  are  copy- 
righted and  any  re-recording  like  this 
infringes  the  copyright.  Also,  they  are 
not  cleared  for  television  use  by  the 
union  (American  Federation  of  Mu- 
sicians ) .  Therefore,  only  "'public  do- 
main'' music,  which  is  available  in  most 
larger  cities  on  discs  or  tape,  may  be 
used.  It  is  recorded  music  which  is  free 
for  anyone  to  use  for  any  purpose,  with- 
out having  to  get  it  cleared  by  the  com- 
poser or  artists. 

To  be  sure,  this  type  of  music  is  ex- 
pensive for  the  amateur,  perhaps  costing 
as  much  as  $25.00  for  a  selection.  But. 
as  usual,  the  price  varies,  and  it  is 
generally  what  the  trade  will  bear. 

After  the  recording  has  been  made, 
the  sound  track  is  processed  and  com- 
bined with  the  original  picture  film 
(which  has  been  cut  to  match  the  work 
print )  in  a  sound  on  film  print.  Since 
the  Cine  Voice  holds  100  feet  of  film, 
it  is  a  good  idea  to  have  the  recording 
pause  just  before  the  end  of  each  reel 
to  insure  that  no  sound  is  lost  between 
reels   by   splicing. 

This  is  just  a  brief  outline  of  some 
of  the  problems  and  possibilities  for 
the  amateur  in  television.  More  specific 
aspects  of  the  subject  will  be  discussed 
in  future  articles. 

Filming  the  bride 

[Continued  from  page  149] 

book,  dissolving  to  an  extreme  closeup 
of  what  he  apparently  is  reading  aloud. 
The  spotlighted  page  is  reduced  to  a 
ribbon  of  light  which  highlights  only 
the  sentence,  "Do  you  take  this  man. 
etc.""  Allow  ample  time  for  the  wording 
to  be  read  slowly,  then  double  expose 
an  up-angle  shot  of  the  bride's  face, 
looking  just  over  the  top  of  the  camera, 
as  she  says,  "I  do!"  Now  swing  back  to 
the  page  as  the  light  beam  narrows  to 
another  sentence,  "Do  you  take  this 
woman,  etc."  Then  double  expose  the 
groom  in  closeup  over  the  printed  page, 
as  he  replies.  "I  do!" 

Such  closeups  must  be  taken  against 
a  dark  background  to  simulate  the 
church  interior  and.  even  more  impor- 
tant, to  insure  clarity  in  permitting  the 
printed  page  to  be  read  easily  over  the 
double  exposed  face. 

Smooth  transitions  between  scenes 
will  avoid  breaking  the  film  uninten- 
tionally   into    separate,   too-well-defined 


parts.  The  fade  and  the  dissolve  are 
well  known,  but  not  all  cine  cameras 
are  equipped  to  create  these  effects. 
Fade-outs  can  be  created,  however,  by 
closing  the  lens  to  its  smallest  aperture 
and  sliding  the  hand  slowly  over  the 
lens  barrel,  while  fade-ins  work  in  the 
opposite  manner.  This  technique  is  most 
effective  when  a  large  lens  stop  is  re- 
quired to  start  with.  In  other  words,  the 
fade  is  longer  and  more  pronounced 
when  the  lens  is  closed  down  from,  say. 
//1.9  to  //16.  than  from  //8  to  //16. 

Where  photoflood  lighting  is  used  on 
interiors,  fades  can  be  created  by  turn- 
ing off  each  light  separately.  The  disad- 
vantage here,  however,  is  that  the  light 
shut-off  is  much  too  obvious.  You  can 
get  around  this  by  having  an  assistant 
swing  the  light  reflector  units  away 
from  the  subject  to  effect  a  natural  fall- 
ing off  of  illumination.  Dont,  in  any 
case,  try  using  a  rheostat  to  cut  the 
voltage  gradually.  For,  with  the  drop  in 
illumination,  there  will  be  also  an  un- 
pleasant drop  in  color  temperature. 

The  closeup  is  a  valuable  aid  in  mak- 
ing scene  transitions  with  smoothness. 
For  instance,  from  a  closeup  of  the 
sterling  pieces  in  the  gift  room  dissolve 
to  the  same  sterling  in  the  new  home 
being  set  around  the  table,  and  then 
pull  back  for  a  medium  shot  of  the  new 
bride  preparing  dinner  for  her  first 
guests. 

Come  in  close  and  record  the  Just 
Married  sign  on  the  back  of  the  car. 
The  whole  sign  should  fill  the  viewfinder 
and  look  like  a  movie  title.  After  you 
have  run  off  a  foot  or  so,  signal  the 
driver  to  pull  away  with  his  bride  for  a 
natural  fade,  and  let  the  pair  add  their 
own  shots  of  their  movie  travels  while 
honeymooning. 

The  reproduction 
of  sound:  I 

[Continued  from  page  155] 

tion.  The  tolerances  adhered  to  will  be 
reflected  in  the  quality  and  the  price  of 
your  equipment. 

The  ideal  amplifier  will  increase  the 
signal  put  in  and  pass  it  to  the  loud- 
speaker undistorted.  For  that  it  should 
also  have  a  flat  response,  which  means 
that  all  frequencies  should  be  amplified 
in  the  same  proportion.  If  the  amplifier 
is  poor,  it  will  not  amplify  100  cps  as 
well  as  3000  cps.  It  also  will  usually 
fall  off  at  5000  cps. 

Graphically  represented,  the  line 
showing  the  measurements  of  the  out- 
put with  respect  to  the  frequency  of  a 
poor  amplifier  will  not  be  flat.  Fig.  2 
shows  a  typical  response  curve  for  (A) 
an  ideal  amplifier.  (B)  a  high-quality 
amplifier,  (C)  a  good  amplifier,  and 
(D)  an  average  amplifier  such  as  is 
used  in  commercial  radio  sets.  It  may 
be    mentioned    at    this    point    that    the 


you  can't  do  BE!    ER 


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NAME 

STREET 

CITY STATE 


83  CHAMBERS  ST.  NEW  YORK  7 


174 


MAY    1951 


THE   BROAD  OUTLOOK 


DURING  1939  and  1940,  over  too  many  months 
to  mention,  this  magazine  ran  a  series  of  arti- 
cles on  the  amateur  filming  opportunities  at  the 
New  York  World's  Fair  and  the  Golden  Gate  Inter- 
national Exposition,  at  San  Francisco.  We  knew,  of 
course,  that,  over  the  two-year  span  of  these  great 
American  exhibits,  a  large  number  of  our  readers — 
perhaps  even  a  majority  of  them — would  attend  these 
fairs  and  film  them.  It  was  our  primary  purpose  in 
presenting  these  articles  to  aid  these  fair-bound 
filmers. 

However,  we  had  quite  consciously  a  second  pur- 
pose in  such  editorial  coverage — to  wit:  good  journal- 
ism. Our  reasoning  ran  like  this  .  .  . 

( 1 )  Although  these  great  fairs  were  staged  in 
America,  they  were,  clearly,  events  of  international 
interest  and  significance.  As  such,  they  held  news 
value  to  everyone,  everywhere — whether  you  planned 
to  attend  them  or  not. 

(2)  The  Amateur  Cinema  League  is  an  interna- 
tional  association   of   amateur   filmers.   As   such,   we 


should  report  in  our  magazine,  from  the  filming 
viewpoint,  on  events  of  international  interest  and 
significance — whether  all  of  our  readers  plan  (or 
indeed,  can)   attend  them  or  not. 

And  thus  it  was  that  we  reported  on  America's 
two  world's  fairs  in  1939  and  1940.  Thus,  also,  that 
we  reported  on  England's  Olympic  Games  in  1948, 
on  Italy's  Holy  Year  Pilgrimage  in  195  0,  and  now  on 
England's  great  Festival  of  Britain,  currently  on 
view  throughout  the  United  Kingdom.  Also,  looking 
only  slightly  into  the  future,  thus  it  is  that  we  shall 
report  later  this  summer  on  the  2,000th  birthday  of 
the  City  of  Paris. 

We  believe,  frankly,  that  these  great  international 
events — and  their  filming  opportunities — interest  the 
majority  of  our  readers — even  if,  on  occasion,  they 
cannot  attend.  We  believe  that  the  majority  of  our 
readers  like  to  keep  informed  on  what's  going  on  in 
the  world.  We  believe  that  they  have  the  broad  out- 
look— and  that  they  wish  their  movie  magazine  to 
have  it  as  well.  We  are  proud  to  assent. 


THE    AMATEUR    CINEMA    LEAGUE,    Inc. 

Founded   in    1926   by   Hiram   Percy   Maxim 


DIRECTORS 


Joseph   J.   Harley,   President 
Ethelbert   Warfield,    Treasurer 

C.    R.   Dooley 
Arthur    H.    Elliott 
John    V.    Hansen 


Ralph   E.  Gray,  Vicepresident 
James  W.  Moore,  Managing  Director 

Harold  E.  B.  Speight 
Stephen  F.  Voorhees 
Roy  C.  Wilcox 


The  Amateur  Cinema  League,  Inc.,  sole  owner  and  publisher  of 
MOVIE  MAKERS,  is  an  international  organization  of  filmers.  The 
League  offers  its  members  help  in  planning  and  making  movies.  It 
aids  movie  clubs  and  maintains  for  them  a  film  exchange.  It  has 
various  special  services  and  publications  for  members.  Your  member- 
ship   is   invited.    Six    dollars  a    year. 


AMATEUR    CINEMA    LEAGUE,    Inc..  420    LEXINGTON    AVE.,  NEW  YORK    1 7,  N.  Y.,  U.  S.  A. 


frequency  response  of  a  sound  system 
is  by  far  not  the  only  criterion  of  qual- 
ity. A  common  source  of  trouble  is 
"hum,"  a  60  cycle  sound  produced  in 
the  amplification  stages.  Careful  engi- 
neering and  material  investment  are 
required  to  get  rid  of  it. 

VARIOUS  SOUND  METHODS 

With  these  fundamental  sound  qual- 
ities in  mind,  let  us  now  itemize  briefly 
the  common  methods  of  their  recording 
and  reproduction.  These  are: 

Mechanical  recording  on  disc.  The 
old  phonograph  used  a  purely  mechani- 
cal recording  system.  Sound  was  caught 
in  a  large  tube  ending  on  a  small  dia- 
phragm, which  transmitted  the  vibra- 
tions to  a  cutting  needle  called  a  stylus. 
When  the  stylus  was  placed  on  a  re- 
volving disc,  it  cut  a  groove  from  the 
outside  to  the  center  of  the  record.  This 
method,  of  course,  has  been  obsolete 
since  the  late  '20s. 

Electro-mechanical  recording  on  disc. 
Although  the  discovery  of  electricity 
has  deeply  affected  sound  reproduction, 
the  phonograph  record  of  today  is  fun- 
damentally unchanged.  Electronics  have 
improved  the  quality  and  power  of  the 


system  by  changing  weak  mechanical 
signals  (movement  of  the  needle)  into 
electrical  impulses  of  varying  voltage. 
These  signals  are  then  amplified  as 
much  as  desired  to  drive  a  loudspeaker. 

Optical  sound  recording.  This  photo- 
graphic process  of  recording  sound  is 
possible  only  with  electronic  circuits 
and,  of  course,  photographic  registra- 
tion. The  moving  element  here  is  the 
film  passing  in  front  of  an  optical  sys- 
tem through  which  a  light  beam  of  vary- 
ing intensity  or  shape  exposes  the  film. 
The  resulting  picture  is  a  white  line  of 
varying  thickness  or  density.  In  one 
case,  the  recording  system  is  of  the 
variable  area  type,  in  the  other,  of  the 
variable  density  type.  In  16mm.  sound 
on  film  the  variable  area  system  is  now 
used  almost  exclusively. 

Magnetic  recording.  Edison's  phono- 
graph worked  without  electronic  cir- 
cuits; and  so  did  the  first  magnetic 
recorder  in  1897.  Yes,  1897!  It  was  a 
wire  recorder  used  as  a  dictating  ma- 
chine and  usable  only  with  earphones. 
Today  magnetic  recordings  are  being 
made  on  special  wire  (wire  recorders) , 
quarter-inch  paper  or  plastic  tape  cov- 
ered with  microscopically  small  red  or 


black  iron  oxide  particles  (tape  record- 
ers),, and  lately  on  movie  film  covered, 
partly  as  a  track  or  fully,  with  a  layer 
of  red  iron  oxide  particles  (film  record- 
ers) .  A  magnetic  head  with  a  very  nar- 
row slit  is  placed  on  the  moving  film 
(or  tape)  so  that  the  slit  lies  across  the 
width  of  it.  The  varying  magnetic  field 
produced  across  the  gap  magnetizes  the 
contacting  iron  oxide  particles  which 
stay  magnetized  almost  indefinitely. 

For  reproduction,  the  cycle  of  record- 
ing is  reversed  in  all  the  different  re- 
cording systems.  The  reproducing  needle 
follows  the  grooves  that  a  recording 
stylus  had  cut;  the  photocell  receives 
light  of  varying  intensity  in  the  same 
measure  as  light  was  originally  recorded, 
and  a  magnetic  head  picks  up  the  same 
changes  in  its  magnetic  field  as  it  had 
impressed  on  the  tape  during  recording. 
In  each  case  the  signal  is  amplified  and 
transmitted  to  the  loudspeaker,  where 
the  moving  diaphragm  brings  the  air 
into  vibration.  The  result  is  sound. 

(In  The  Reproduction  of  Sound:  2, 
Mr.  Schoenwald  will  discuss  the  relative 
merits  of  microphones,  amplifiers  and 
loudspeakers.  Look  for  it  in  June  Movie 
Makers — The  Editors.) 


Keystone f 


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carry  it  lightly 

Single  lens  or  turret  model,  it's  all  camera 
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carry  it  with  pride 

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Shutter  speed,  lens  aperture  and  other 
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Write  for  your  FREE  illustrated  Keystone 
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Model  K-45  8mm  magazine  RIVIERA 
Triple  Lens  Turret  Movie  Camera 
With  f/2.5  coated  lens     $129.50 


iviera 

use  it  for  a  lifetime 

Extra  rugged  and  dependable, 
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JOAN  CRAWFORD  SAYS:  "FOTON  IS  THE 
ONE  CAMERA  THAT  IS  ALWAYS  READY!'' 


:  ■:.;.-.  ■«?; 


"Since  my  Foton  transports  film 
automatically,  it's  always  ready  to 
shoot .  .  .  and  keep  right  on  shoot- 
ing. That's  one  reason  I've  been 
getting  such  wonderful  results!" 

Automatic  winding  is  one  of  the 
reasons  fans  have  been  getting 
such  results  with  the  Bell  & 
Howell  Foton!  But  check  all  of 
the  Foton  advantages.  Many  of 
them  are  exclusive  features  that 
put  Foton  at  the  top  in  the  35mm 
still  camera  field. 


EXCLUSIVE  FEATURES: 

•  Automatic  Film  Transport— take  10  to  15 

shots  with  one  winding  —  you're  always 
ready  to  shoot ! 

•  Sequence  Operation  — permits  you  to  take 
bursts  of  pictures  .  .  .  take  an  entire  se- 
quence with  machine-gun  rapidity. 

•  T2.2  (f/2)  Filmocoted  Lens-Cooke  Amotal 
lens  calibrated  in  T-stops  to  give  you  the 
exact  amount  of  light  admitted.  Highest  re- 
solving power  of  any  35mm  camera  lens 
gives  extreme  sharpness  of  detail  and  third 
dimension  effect. 

•  Coincidence-type  Range  Finder— designed  to 
give  an  extra  clear  image  and  precise  focus- 
ing in  seconds. 


You  buy  for  life  when  you  buy 


•  Four-leaf  Focal  Plane  Shutter  — for  uni- 
form exposure  from  corner  to  corner 
and  absolute  accuracy  in  the  11  shutter 
speeds  from  bulb  to  1/1000  of  a  second. 

also  has: 

Built-in  flash   synchronization 
Film  speed  reminder 
Release  button  lock 
Depth  of  field  scale 
Click  stop  iris 

Add  up  these  Foton  "exclusives"  and 
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Guaranteed  for  life.  During  the  life  of  the 
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materials  will  be  remedied  free  (except 
transportation). 

BelkHowell 


B        311930 


VACATION   FILMING      •      JUDGING   THE   TEN   BEST      •      TRY  A  TRAIL   RIDE 


» 


Mrrmm 


manes 


1  Turret 


Yvar  16mm  F/2.8  Visifocus*  Lens 


Your  skill  is  more  important  than  the  equipment  you 

use  —  good  tools  alone  never  yet  made  a  good  craftsman. 

But  with  skill  comes  pride  of  ownership  and  faith  in  the  finer  tools  of  the  movie-makers  craft. 

Because  your  movie  camera  is  an  extension  of  yourself,  its  operation  and  mechanism 

must  be  smooth  and  flawless  —  its  design  must  integrate  each  component  part 

into  a  unit  of  the  highest  efficiency. 

A  turret  camera  undoubtedly  aids  your  movie  making  —  giving 

your  films  dramatic  dash  and  sparkle.  Your  filming  themes  know 

no  limits  —  the  wide  vista  —  the  middle  distance  and  on  to  the  far  hills. 

With  three  lenses,  your  filming  tempo  keeps  pace  with  the  dynamic 

action  of  junior  at  play,  the  family  vacation  and  sports  afield. 

A  turret  type  camera  is  the  one  most  desired  by  movie  makers.  But  top  performance  from 

a  turret  and  its  lenses,  however  good,  can  only  be  expected  if  the  camera 

mechanism  and  design  is  of  comparable  quality. 


Switar  1"  F/1.4  Compass  Focus  Lens 


Yvar  3"  F/2.8  Telephoto  Visifocus*  Lens 


Fine  lenses  should  fit  a  turret  of  high  accuracy  —  the  shutter  must  operate  consistently  at  each 
and  every  setting  —  a  rugged  spring-motor  must  maintain  constant  speed  —  the  claw  and 
sprocket  wheels  must  engage  and  advance  the  film  precisely.  And  the  accessory  features, 

facilitating  finer  films,  must  also  match  the  same  high  standards. 

Bolex  movie  cameras  more  than  measure  up  to 

these    demands.    Bolex    brings    more    than    four 

generations  of  Swiss  precision  manufacture  of 

spring-wound  mechanisms  and  optical  instruments 

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A  thorough  comparison  by  you  of  Bolexclusive 

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Bolex  and  Kern-Paillard  "Visifocus"  lenses 

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Your  Bolex  Dealer  has  Bolex  H  models  available 
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Paillard  Products,  Inc. 
265  Madison  Ave.,  New  York  16,  N.  Y. 


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E  NEW  ADRICON 


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I  mm  SOUND-ON-FILM     , 
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i'  Self-blimped  for  completely  guiet  studio  operation. 

I  1200  foot  film  capacity  for  33  minutes  of  recording. 

I  Variable  shutter  for  fades,  dissolves  or  exposure  control. 

)  Two  independent  finder  systems  in  addition  to  ground- 
j  3s  reflex  focusing;  one  finder  for  studio  use,  the  other  for 
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I  $4,315.65  complete  for  "High  Fidelity"  16mm  single-system 
si  nd- on- film,  with  Amplifier,  Microphone,  and  three  Carrying 
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««««■ 


NUFACTURERS     OF    SOUND-ON-FILM     RECORDING     EQUIPMENT    SINGE     1931 


180 


/ 


JUNE    1951 


COMMONWEALTH 


Announces 
THREE  New  Additions 

to  the 

Edward  Small  Group 
Now  making  jQ  in  all 


IP 
/fan*  As**- 

COUJVT 

OF 

MOJVIE 

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1MB  **** 

HAWMffl/BENNE1T< 

HOME  V  JED" 

MONJW 
CfflSIO 


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LiiM  j+,ii 


MYS°N>MySON  / 


Madeleine  Carrol,        Brion  Ah 


06  D°y  louis 


Hayward 


A  ilfn  Oonl.»y.  W"iom  HOPk'ni 

KIT  CARSON  Andr„ 

iSS-SSftRSKS 

Dougl«  Fairbanks.  Jr.. 
AVim  Tom.rofr 

SSSBBBSfiL... 

William  Gorgon.  t.»y  * 

Moor*,  P«ggy  R»on     . 

I  For  Rentals  Communicate 
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THE  MAGAZINE  FOR 
8mm  &  16mm  FILMERS 
Published  Every  Month  by 
AMATEUR  CINEMA  LEAGUE 


* 


The  reader  writes 


ne 
1951 

182 


The  narrow  gauge  scene  in  Colorado 

Melvin  W.  Swansick,  ACL    185 


Vacation  film  formulas 

Taney— not  fact! 

/.lore  talk  of  the  Ten  Best 

The  clinic 

Try  a  trail  ride! 

The  reproduction  of  sound:  2 

Titles  fer  TV 

Hands  of  friendship 

News  of  the  industry 

Closeups 

New  ACL  members 

Clubs 

Happy  holidays  ahead! 


Frank  £.  Gunnell,  FACL  186 

Timothy  M.  Lawler,  jr.,  ACL  188 

James  W.  Moore,  ACL  190 

Aids  for  your  filming  191 

Georgia  Engelhard  192 

Gerard  Schoenwald,  ACL  196 

John  H.  Baffison,  ACL  198 

A  report  from  the  field  199 

Reports  on  products  200 

What  filmers  are  doing  204 

205 

People,  plans  and  programs  206 

Editorial  210 


Cover  photograph  by  Georgia  Engelhard 


JAMES  W.  MOORE 
Editor 


DON  CHARBONNEAU 
Consultant  Editor 


ANNE  YOUNG 
Advertising  &  Production 


Vol.  26,  No.  6.  Published  monthly  in  New  York,  N.  Y.,  by  Amateur  Cinema 
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